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hualianff · 4 years ago

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More Than This V 《IV》

(Minor NSFW)

The media has a field day when HC is pictured stepping onto the red carpet with his arm wrapped around XL’s waist. Neither of them acknowledges the scandalous questions or rude comments flung their way. They simply revel in how liberating it feels to finally be seen in public together. No more hiding!

XL himself is quite a catch. He is his charming and bubbly self in the short interviews with reporters HC has deemed polite enough to spare time for.

(Reporter: “Both of you look gorgeous in your outfits today.”

XL, leaning forward to speak into the mic: “That’s very kind of you to say, thank you. These are actually designed by my good friend, Shi Qingxuan, who has a growing clothing business. They’re incredibly talented and aim to be gender and size-inclusive with all kinds of styles.” *pause* “Ah, forgive me for rambling.” *an embarrassed laugh*

HC, immediately: “Gege is not rambling at all.”

Reporter, shaking their head: “No no, that’s lovely to hear. Judging from your outfits tonight, there’s no question of their talent.”

XL, smiling as bright as the sun: “Absolutely. As you can see, inspiration was drawn from the era the film San Lang-” *gestures to HC, whose attention is solely on XL, with the fondest expression* “-is in. I personally adore the traditional wardrobe–the stylists did an amazing job. It may seem a bit silly, but I wanted to dress up similarly to the characters myself.”

Reporter: “That’s not silly at all.” *receives approving look from HC* “I think that’s wonderful. Though no protagonist attire for you tonight, Hua Cheng?”

HC, shaking his head: “I’ll settle for being a low-ranked artist with a handsome partner.”

The crowd erupts into hysterical shouts.)

(A month prior, right before XL heads to meet up with SQX to discuss outfits for the red carpet...

“I know it’s not a common thing to do–to mimic the styles of the film. You don’t have to dress up with me! ” XL had insisted. HC shook his head, engulfing XL in a bear hug.

“If Gege is, then so am I,” HC said decisively.

The happiness in XL’s eyes is beyond worth it.)

When getting their pictures taken, XL politely smiles for the cameras while HC can’t help but stare at XL. HC then poses by resting his cheek against the top of XL’s head, smiling lazily. Fans and other celebrities alike are instantly taken by the wholesome sight. HC does not doubt that after tonight, XL will have his own fansites.

Who in their right mind wouldn’t be whipped for XL upon first glance? In his eyes, XL looks more like a prince than HC did as the character in the film. As long as XL’s boundaries are respected, HC is willing to share his boyfriend with the world.

(Reporter: “So how did you two meet?”

XL: “We met while watch-shopping!”

Reporter, over-exaggerated gasp: “Watch-shopping?”

XL and HC, simultaneously clarifying: “Shopping for watches-”

XL: “I was buying a gift for a friend and didn’t know which kind to get-”

HC: “-I saw him browsing and offered some suggestions based on what I liked.”

Reporter to XL: “Did you know it was Hua Cheng you were talking to?”

XL, sheepishly: “Hahah, actually, no-”

The crowd descends into chaos.)

During the awards ceremony, whenever the camera pans over to HC, he’s too busy whispering or laughing with XL. Anyone witnessing their interactions can clearly see how happy XL and HC are.

Overall, XL is very well received by the public. HC keeps XL by his side the entire time. (They’re inseparable, your honor!) He offers XL the best snacks because he knows XL loves munching on things during long events. There’s alcohol too. HC and XL help themselves to plenty, resulting in touchy XL and relaxed HC.

When HC’s name is announced, winning for best lead actor, XL wraps his arms around HC’s shoulders while HC buries his face into XL’s neck, rocking them back and forth happily. HC keeps his acceptance speech short, thanking everyone who made the film possible, his fans who continuously support him, and XL–who’s been in his life for two years.

HC walks back down the stage, ignoring the people gesturing him backstage, so he can return to XL. He doesn’t give a fuck.

As soon as the show dismisses them, HC stands up and pulls XL through the crowd so they can rush to the limo already waiting for them. Both of them are high off adrenaline and tipsy from the alcohol, their giddiness contagious.

HC nearly snaps when other celebrities come up and greet HC as if they were on friendly terms before cozying up to XL. They invite HC and his partner–they hungrily eye XL–to visit with them at their after-party.

(XL: “Maaaaybe-“ *sly smile*

HC: “No.”

XL: “Next time then.” *smiles sweetly at the other celebrities*

HC: *glares at the other celebrities*

Other celebrities: *whiplash*)

HC has no intention of overwhelming XL with the pompous movie industry. Fuck pretentious after parties.

Plus, their enjoyable night is far from over.

As soon as the couple makes it into the privacy of the limo–the sliding barrier closed–XL’s lips quickly find his boyfriend’s. HC groans appreciatively, automatically opening his mouth for XL’s tongue to delve in, licking obscenely.

“Gege is eager,” HC notes with satisfaction. This only causes XL to kiss HC harder, pressing needily against the taller man until he’s pushed back onto the largest section of the seat.

HC’s hands secure themselves on XL’s hips, not prepared for the way the older man heavily drops into HC’s lap. XL’s thick thighs spread into a wide straddle as he sensually grinds on top of HC.

“I-I believe a congratulation is in order for San Lang’s win t-tonight,” XL huffs, already breathless from their kissing.

“Oh?” HC attaches his lips to XL’s jawline, trailing down the smooth column of his neck. XL whimpers as arousal shoots down his spine all the way down to his toes. “And how does Gege plan on helping me celebrate?”

Much to HC’s surprise, XL doesn’t shy away from eye contact at the teasing nor the thrust of HC’s hips up between XL's legs. Instead, XL holds his gaze while panting open-mouthed, a natural blush painted across his cheeks.

“Let me ride you.”

HC’s breath stutters.

XL bites his lip while guiding HC’s hands down to the swell of his ass where they are large enough to fully hold both cheeks. HC’s heated gaze does not waver from XL’s flushed face as he runs a pointer finger down his boyfriend’s clothed crack.

He feels a small bump where XL’s entrance should be.

“What a pleasant surprise; Gege’s still loose from this morning. Plugged yourself up cause you couldn’t wait for me to open you up after the show, could you?” HC murmurs knowingly. He pushes against the plug, making XL’s hips twitch forward.

“Gege wants to ride me, yeah? Gonna bounce on my cock now that the whole world knows who it belongs to?” HC continues lewdly, never breaking eye contact with XL.

“Nghh! S-san Lang-!” XL’s face burns with embarrassment he brought upon himself.

“Yes or no, gege?” HC relentlessly presses.

“I- hmmm, yes-!”

XL’s hips search for friction as HC fondles with the plug but HC stills them with a firm hand. HC scoffs in disbelief how such a beautiful person could be his. He leans up to kiss XL’s temple, already damp from perspiration.

“God, I love you so much.”

The sound of fabric tearing snaps XL out of his daze.

“SAN LANG, THE CLOTHES-”

XL yelps as HC gives him something other than his ruined outfit to scream about.

***

(As per HC’s earlier request, the chauffeur takes a one-hour detour before arriving at the final destination.)

《VI》

#tgcf #heavenly official's blessing #hualian #hualian au #xie lian #hua cheng #modern au #cerdrabbles #TBC #epilogue #landscaper XL #actor HC

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lingthusiasm · 4 years ago

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Transcript Lingthusiasm Episode 52: Writing is a technology

This is a transcript for Lingthusiasm Episode 52: Writing is a technology. It’s been lightly edited for readability. Listen to the episode here or wherever you get your podcasts. Links to studies mentioned and further reading can be found on the Episode 52 show notes page.

[Music]

Gretchen: Welcome to Lingthusiasm, a podcast that’s enthusiastic about linguistics! I’m Gretchen McCulloch.

Lauren: I’m Lauren Gawne. Today, we’re getting enthusiastic about writing as a technology. But first, do you wish there was more Lingthusiasm to listen to? Even though this is Episode 52, we have almost a hundred episodes of Lingthusiasm. Some of them exist as bonus episodes over at our Patreon.

Gretchen: If you want to listen to those and have more Lingthusiasm in your earballs, you can go to patron.com/lingthusiasm. This also helps keep the show ad-free. If you like listening to a show without ads, help us keep doing that.

Lauren: The Patreon also fosters this wonderful linguistics enthusiastic community. In fact, we have a Discord server, which is basically just a wonderful chat space for people to talk about linguistics. There are over 350 people on the Lingthusiasm Discord right now.

Gretchen: If you wish you had other lingthusiasts to talk to to share your interesting linguistics anecdotes and memes and general nerdery, and you want more people like that to talk to, you can join the Patreon to also get access to the Discord. We launched the Discord community just a year ago, and it’s been really fun to see it grow and thrive and take on a life of its own since then. If you are already a patron, and you haven’t linked your Patreon and Discord account together, it’s there waiting for you. Feel free to come join us.

Lauren: We have Patreon supporter levels at a range of tiers. Some of them include additional merch. One of my favourite perks is the very scientific Lingthusiasm IPA quiz where we send you a short quiz and then we give you your own custom IPA character which is enshrined on our Wall of Fame.

Gretchen: It’s a fun quiz. We have fun looking at people’s answers.

Lauren: Our most recent bonus episode is a collection of some of our favourite anecdotes from interviews and from other episodes that didn’t quite make it into the original episode. We’re delighted to share those in that bonus episode.

Gretchen: You get to see a bit behind-the-scenes with that episode. Also, do you want more linguistics on your favourite other podcasts?

Lauren: Always.

Gretchen: Constantly. We’re also very happy to do podcast interviews on other shows about various topics. If there’re other podcasts that you like that you wish would do a linguistics episode and interview one of us, you should tell them that! We’re happy to come on. Tag us both or something on social media or tell your favourite podcasts that they could do a linguistics episode because we’d be happy to do that.

[Music]

Lauren: Gretchen, do you remember learning how to read?

Gretchen: Not really. I mean, I remember encountering the alphabet chart in my first year of school, but I already sort of knew the alphabet at that point. I guess there was some point when I didn’t know how to read, and there was some point when I did, but I don’t really have concrete memories of that. Do you remember learning how to read?

Lauren: I feel like I have more memories of learning how to write, just because that’s such a mechanical thing. I remember sitting there writing out a row of As. I definitely wrote the number “five” backward for way longer than I probably should have, which is a really common thing that happens when kids are learning to write because it is a combination of brain skills and fine motor skills. But reading in English is something I feel like I’ve always just been able to do. I mean, I guess in comparison learning to read Nepali, which is written in a different script – it’s written in the Devanagari script – I have more memories of that because I did that in my 20s. Even now, I still feel the real disconnect between being relatively able to chat and really struggling to read and write. I still have to put my finger under the words as I’m going through, whereas with English it just feels like the words are beaming straight into my brain because I learnt to read that language so early in my life.

Gretchen: Yeah, I read at this automatic level. I can’t see a sign that says, “Stop,” on it and not read it in Latin script. But in undergrad I took both Ancient Greek and Arabic. In Greek, I got to the point – because the script is sort of similar enough and I was familiar enough with the letters previously-ish – that I got to the point where I could very slowly sound out words as I was reading them out loud because we had to do a lot of reading aloud in Greek class. But in Arabic, I was very much at that hooked on phonics level where you’re like, /p/-/t/-/k/-/a/. There are a few words that I have as sight words in Arabic. One of them is the word for “and,” which is “waa”, and one of the words for “the,” which is “al”, and one of them is the word for “book” because “kitaab” just shows up all the time. But most of the words I had to painstakingly sound out each letter and then listen to myself as I was saying them. I’d be like, “Oh, it’s that word,” even if I knew it, which is this process that I must’ve gone through in English, but I don’t remember doing it for the Latin script.

Lauren: I think that is one of the things that makes it really hard for people who grow up in highly literate, highly educated societies to tease writing and reading apart from language. But actually, when you step back, you realise that writing is actually super weird.

Gretchen: It’s so weird! It’s this interesting – it really is a technology. It’s a thing you do on top of language to do stuff with language, but it’s not the language itself. There are thousands and possibly millions of languages that have never been written down in the history of humanity. We have no idea. We’ve never met a society of humans, or heard of a society of humans, without language. But those are spoken and signed languages, which are just kind of there. Writing, by contrast, was invented somewhere between 3 and 4 times in the history of humanity.

Lauren: That we know of.

Gretchen: That we know of.

Lauren: There might’ve been a society that did a very ephemeral form of snow writing that we have lost forever. But we have records of 3 or 4 times.

Gretchen: It’s been invented a handful of times. There are a few other cases where there are scripts that haven’t been deciphered by modern humans. Maybe they’re scripts, maybe they’re not – it’s not quite clear. But it’s definitely a handful of number of times. And then once other cultures come in contact with the technology of writing, they’re like, “Oh, this is cool. Let’s adapt this to our linguistic situation,” and it gets borrowed a heck of a lot. But it only got cemented a few times.

Lauren: It’s worth saying that “3 to 4” is a bit squishy because it’s not entirely clear if cuneiform, which is a very pointy form of writing from Babylonia, somehow inspired the Egyptian system that became what we know as the hieroglyphs or if they just happened around the same time by coincidence are something we may never really fully put together. That’s a very contested situation. That’s why we can’t even pin down the number of times we think it was invented.

Gretchen: Cuneiform is the one that’s made with the sharpened reed that you push into your clay tablets or, if you’re some people on the internet, into your gingerbread because there’s some really excellent examples of cuneiform gingerbread tablets people have made, which I just wanna – yeah, it’s really great. The Egyptian hieroglyphs people have seen. But yeah, it’s unclear whether they were in contact with each other and kind of heard of each other in a very loose sense and were inspired by each other because there was some amount of contact between those two areas, or if that was elsewhere. The other two – one is in Mesoamerica, in modern-day Mexico and that area, where they had a writing system there that, again, developed into lots of different scripts as it got borrowed from different areas, of which the best deciphered is the Mayan script from the 3rd Century BCE. There’s also the Olmec script, which is probably the oldest. The Zapotec script is also really old. There’s a bunch of scripts in the modern-day Mexico area that also developed independently.

Lauren: Then the final system arose in China around the Bronze Age a couple of thousand years BCE. Because this script was mostly found in its most earliest forms on oracle bones, it’s known as the “oracle bone” script.

Gretchen: What is an oracle bone?

Lauren: They are turtle bones that are used in divination.

Gretchen: Oh.

Lauren: Yeah.

Gretchen: And, again, the Chinese script, once it developed further, it was also, yeah, influenced a bunch of the other writing systems in the area.

Lauren: I find it super fascinating, with absolutely no historical knowledge or insight to bring to this, that in these three different places that were completely separate and going about their own cultural lives writing arose at a similar time around 3,000 to 4,000 years ago.

Gretchen: Yeah! You wonder what was in the water or something. Well, and it’s partially, I think, that there’s a certain level of writing makes it easier to do things like administrative bureaucracy if you’re trying to keep track of whether people paid their taxes or – it’s a very empire-y thing to have is to develop a writing system.

Lauren: Oh yeah. And it’s absolutely worth stating that it’s not like three people in these three different locations all woke up on the same Tuesday 4,000 years ago and were like, “I’m gonna write a long letter to someone.”

Gretchen: Did they have Tuesdays 4,000 years ago?

Lauren: What you see is this emergence of, “I’m just gonna make a couple of notes so I know how much money you owe me.” Some of the earliest cuneiform tablets we have are just, like, beer supply stock takes.

Gretchen: Like, “Three oxes and this many baskets of grain” or whatever.

Lauren: I feel like it’s very human to be like, “We love writing because it’s poetry, and I can send letters to people I love,” and it’s like, no, it’s actually, “I just wanted to know how much you owe me.”

Gretchen: The king just wants to know if these people have paid their taxes.

Lauren: So, what you get is – although I’m like, “Oh, it all happened within similar millennia,” it is actually centuries of development from just keeping tabs on a few items to a fully fleshed out written system.

Gretchen: What types of things people thought were important to write down – things like legal codes and stuff like that – one of the interesting things that I came across when I was looking this up was that there’s a person named Enheduanna, who is the earliest known poet whose name has been recorded. She was the high priestess of the goddess Inanna and the moon god Nanna in the Sumerian city-state of Ur. There we go. But authorship shows up much later than some anonymous civil servant keeping track of who’s registered which grain or some anonymous priest or something keeping track of who’s made various offerings. This idea of like, “Oh, you’re gonna write poetry,” is a step later.

Lauren: Filing your tax is what is actually one of the best links you have to those ancient civilisations.

Gretchen: There’s this Egyptian named Ptahhotep – that’s “Pta,” P-T, even though I know I’m not pronouncing it that way – he was a vizier in Egypt. He’s also one of the first named writers, the first book in history – or people call him the first book in history – because he wrote these Maxims of Ptahhotep. There may have been people who were writing on more perishable materials that didn’t get recorded and stuff like that. It’s this whole process of, “Okay, I’m going to draw these little diagrams of oxen or something or draw these little diagrams of this plant or this animal or whatever to record what types of things get recorded.” But then in order for it to actually become a writing system, there’s also this step of abstraction that has to happen. This is when you start saying, “Okay, well, the word for this very easily visualisable thing” – so I’m thinking of oxen because the word for “ox” in one of the Semitic languages, I think, was something like /alef/. And so, this “ox’s head” gets transformed into, “Okay, what if this is the sound at the beginning of the word for ‘ox’s head,’” which is /alef/, and it gets transformed into our modern letter A, which is “alpha.” “Alpha” in Greek is just the name of the letter. It’s not “an ox’s head” in Greek anymore because the Greeks borrowed it form the Phoenicians. This level of abstraction that has to go from, “Okay, I’m gonna draw an ox’s head” – if you turn a capital A upside down, it kind of looks like an ox’s head.

Lauren: It’s got its little horns, which are the feet of an A.

Gretchen: Yeah, and there’re all these related languages. You know, Arabic’s got alif at the beginning, even though it doesn’t look like an ox’s head anymore. Hebrew’s got an alef, and Greek’s got an alpha, and all of these alphabets that begin with A. It’s this level of abstraction where you can use this thing to stand for this thing that was associated with an ox.

Lauren: There’re a couple of main different ways that you can relate these abstract images that you’re putting down in writing to the language that you are trying to capture. Of course, being a linguistics podcast, I was gonna bring this straight back to the structure of language.

Gretchen: Well, I think it’s interesting to look at the structure of languages in different areas of the world, and how people reflect those in the writing systems that are developed for those languages. When they borrow a writing system for a language with a very different structure, they end up doing certain adaptations to account for not just like, “Okay, languages have different sounds,” but also those sounds are organised and structured in different ways with relationship to each other. The writing systems often reflect some of that history.

Lauren: The Latin alphabet that both of us are most familiar with has a very approximate correspondence between each character of the writing system and a sound in the language. And I say “approximate” because English spelling is a wonderful historical record of how some of those sound changes have changed over time. I’m just gonna keep this upbeat. You can fall down a giant well of English writing system problems, but to get to a point where the majority of letters have a pretty stable correspondence to sounds that we recognise as phones in the language, and that allows us to write out the words of English.

Gretchen: One of the things that’s true about a lot of the Indo-European languages is that they have a particular ratio between consonants and vowels in the words, where they have a fair bit of consonants in relationship to their vowels but not a ton. You can see this in the writing system because the writing system represents consonants and vowels separately. And yet, when the Greeks were borrowing the alphabet from the Phoenicians – Phoenician is a Semitic language like modern-day Arabic and Hebrew – that alphabet only had consonants in it – letters for consonants – because the vowels were not that important. This is still true of modern-day Semitic languages is they’re often written in writing systems that don’t represent the vowels or kind of optionally represent the short vowels, or sometimes they represent the long vowels, but they’re often written in writing systems where the vowels can be omitted. That’s not really a thing you can do very well in Indo-European languages and still have things understood because the vowels carry enough information that you need to represent them somehow.

Lauren: Even when you have a phonemic script, it’s not necessary to always represent all of the sounds to convey the language.

Gretchen: Right. Then conversely, there are other languages where the vowels are even more important and, in fact, every consonant comes with a vowel or virtually every consonant comes with a vowel. In those, you often get what are called “syllabaries,” where they represent one syllable at a time, because why bother with representing each of these things separately when in every context where you have a consonant there’s gonna be a nearby vowel – or in virtually every context there’s gonna be a nearby vowel – and so you can have a symbol that just represents the whole syllable there. That’s also a structure that doesn’t work very well for Indo-European languages because they don’t have that many vowels. There’s this spot of like they have important enough vowels that you need to represent the vowels somehow but not so important are vowels that you have to represent lots of vowels all the time, whereas languages like Japanese or Hindi – well, Hindi’s Indo-European, but it’s got more vowels, I guess.

Lauren: The Devanagari writing system is inherently focused on the syllable, which is a very different approach to reading. Each character of this writing system, if there’s no vowel specified, it just comes with a bonus vowel. It’s like, “Buy this consonant, get this free letter A sound.”

Gretchen: Right. That’s partly a feature of the writing system, but it can only be a feature of the writing system because it’s already a feature of the language. A similar thing goes for a language like Chinese, where a lot of things are based around a syllable.

Lauren: Then you can go a level of abstraction further where your character in the writing system represents a word-level thing and doesn’t have a direct relationship to the sound correspondence, which is what happens with the Chinese script.

Gretchen: I think it’s important to recognise that there is a phonetic component to Chinese characters. They often make use of – especially for words that are more abstract – it’s not just like, “Oh, here’s a bunch of little pictures that we’ve drawn,” because that’s not capable of conveying abstract concepts like grammatical particles and words for things that don’t come with easy pictures. And so, making use of, “Okay, a lot of our words are one or two syllables long, so here’s a word that’s relatively easy to visualise that sounds very similar to a word that is not as easy to visualise.” We can just add a thing to be like, “It sounds like this, but it’s got a meaning more related to this,” and you can be like, “Oh, it must be this more abstract word.” The classic example, which I’m definitely gonna do the tones wrong on, is that the word for “horse” is /ma/, and the word for mother is also /ma/ with a different tone, and you can add the little horse semantic component with the woman semantic component and be like, “Oh, it’s the word that sounds like ‘horse’ but has to do with something with a woman,” and then you end up with “mother.”

Lauren: This works for languages in China because they tend to be not as long as words in English. We like to add all these extra bits of morphology within our grammar, whereas, again, you get – not a direct rule force – but you get this general tendency where the writing system kind of fits with the vibe of the grammar of the language.

Gretchen: One example of that is in Japanese where they were heavily influenced by the Chinese script, but Japanese actually does have suffixes and other little grammatical words and things you need to change about words. They made some of the Chinese characters that had formerly only had semantic things into just like, “Oh, this makes this sound, and this makes this sound,” because they needed to be able to represent that morphological information that’s not super important in Chinese but is very important in Japanese. You end up adapting a script into something else when it gets borrowed in a different context. Another interesting example here is Farsi or Persian which is an Indo-European language that’s conventionally written with the same script as Arabic except it’s also had a couple of additional letters added because Persian has a P and Arabic doesn’t. They had to create a symbol for the sound P, which is why you get “Farsi” instead of “Parsi” because Arabic doesn’t pronounce that P. So, it makes the P into an F. Sometimes you get people adding additional letters like adding a letter for P. Sometimes you get adapting whole sets of a script.

Lauren: Sometimes you lose letters. English had distinct characters for /θ/ and /ð/ until it was technologically easier to just use the characters in the printing press that English had borrowed. It’s makes me a little bit sad. But also, it makes international people – maybe it’s a little bit easier.

Gretchen: We used to have a thorn for the /ð/ sound, but those early printing presses from continental Europe didn’t have thorns on them. I mean, Icelandic still has thorns. One of the things that I think is more interesting in the closer to modern era – not strictly modern era – is cultures and peoples that are familiar with the idea of writing yet take the idea of writing and say, “We’re gonna make our own homegrown script that actually works really well for our particular language.” One of my favourites is the Cherokee syllabary, which was invented by Sequoyah, who was a Cherokee man who didn’t know how to read in English, but he’d encountered the Latin-based writing system in English. He thought it was cool that the English speakers had this, and so he locked himself in shed for several years and came up with a syllabary for Cherokee. Some of the symbols on the Cherokee syllabary look something like Latin letters, but they stand for completely different things because he wasn’t just learning to read from English. Some of them are completely different. This became hugely popular among the Cherokee in the area. There were newspapers in this in the 1800s. There was very high literacy in Cherokee country. It was really popular. It’s even still found on modern-day computer keyboards and stuff like this. You can get Windows and stuff in Cherokee. It’s this interesting example of that’s one where we can say a particular person was inspired by writing systems but also created his own thing that became very popular.

Lauren: The thing that makes Cherokee so compelling to me is not only did he come up with an incredibly elegant, well thought out, suits the language system, but that he actually got uptake as well – that the community decided to use this as the writing system that they would learn to read and write in, and that it had uptake. It’s very easy to come up with ways of improving the technology of writing but, as I think you’re fond of saying, language is very much an open-source project. You can come up with really elegant solutions, but if no one else is gonna take them up, that’s not gonna be very helpful. So, Sequoyah’s work is doubly amazing for that reason.

Gretchen: People actually made printing presses with the Cherokee symbols and were using those. Another interesting case of this disconnect between a person or people coming up with a system and actual uptake of it is Korean, which has what I think linguists generally agree is just the best writing system.

Lauren: Yeah, we’re like, “Writing as a technology is amazing. All writing systems are equally valid. But Korean is particularly great.”

Gretchen: “But Korean’s really cool.” The thing that’s cool about it from a completely biased linguist perspective is that the writing system of Korean, Hangul, the script, is not just based on individual sounds or phonemes, it’s actually at a more precise level based on the shape of the mouth and how you configure the mouth in order to make those particular sounds. There’s a lot of, okay, here are these closely related sounds – let’s say you make them all with the lips – and you just add an additional stroke to make it this other related sound that you make with the lips. Between P and B and M, which are all made with the lips, those symbols have a similar shape. It’s not an accident. It’s very systematic between that and the same thing with T and D and N. Those have a similar shape because they have this relationship. It’s very technically beautiful from an analysis of language perspective.

Lauren: I love this so much that when we were prototyping a potential script for the Aramteskan language for the Shadowscent books, when I was constructing that language, I also started constructing a script that we never used anywhere, but it was helpful to think about how the characters would write and what writing implements they would use. If you look at the script, you’ll notice that the letter P and B are very similar, but B has an additional stroke. T and D are very similar, but D has an additional stroke. Very much feature driven. And then for the vowels – it’s roughly a quadrant in the writing space – the /i/ vowel is in the top left of the quadrant, the /u/ vowel is in the top right of the quadrant, the /a/ vowel is in the bottom left of the quadrant.

Gretchen: So clever!

Lauren: It was actually just for really selfish reasons that I decided to go with a feature-based system, and that is that it was easier for me to remember if I used the features of the language and made sure that the voiced sound was always identical to the voiceless one but just with an additional stroke. It meant that I only had to remember half the characters.

Gretchen: That’s very elegant. The easy to remember bit is also true about the Hangul script because it’s got so much regularity. The famous quote about Hangul is something like “A wise man can learn it in an afternoon and a foolish man can learn it in a day.”

Lauren: So catchy!

Gretchen: There’s probably a better version of that quote. What’s interesting about it from an adoption perspective is that Hangul was invented by Sejong the Great.

Lauren: Appropriately named.

Gretchen: Who has a national holiday now because of the script. But it was created in 1443. It’s not quite clear whether it was him personally doing everything or whether he had an advisory committee of linguists, but it’s really extremely well-adapted to the linguistic situation of Korean in particular. Even though it’s just also really cool for how it represents the inside of the mouth, but it’s really well adapted for Korean. It was invented in 1443, but it wasn’t popularised in use until several centuries later because for a long time Korean was also using, like Japanese, this adapted version of the Chinese script or adapted version of the Japanese script because of the cultural influences. In the early 20th century, they were doing a much bigger literacy push in Korea to be like, “What want everyone to learn how to read.” And they said, “Okay, we’re gonna have an orthographic reform, and we’re gonna use this script which has this very nice historical pedigree but also is much easier to learn than this complicated thing that we had done that wasn’t really designed for Korean.” It’s got this historical antecedence but also it came back in the modern-day. Now, everything in Korean is written in it. It’s because it’s really easy to learn how to read and write in. The historical uptake wasn’t immediate. It wasn’t during King Sejong’s lifetime where they were like, “Oh, yeah, now we’re all gonna use his script,” people were like, “Okay, king, you’ve got this hobby,” but it wasn’t popularised until later.

Lauren: Even when there is really strong abstraction, humans have this unavoidable tendency to think about the relationship between sounds and other senses. In sound-based writing systems – Suzy Styles, who has been on the podcast before and works on perception across the senses, did an experiment alongside Nora Turoman where they looked at whether people can guess, for writing systems they’re not familiar with, which character was the /u/ sound and which character was the /i/ sound. They found that for a whole variety of scripts there is a much higher than chance – because there’s only two choices. If was completely arbitrary, it would be 50/50. But people do tend, across the evolution of sound-based writing systems, to have /u/ that has a more rounded, bigger sound has properties in the writing system that re-occur. People continue to unavoidably link the sounds of the language to the written properties of the script in a very low-level way. I’ll link to that study. It’s really great.

Gretchen: That’s interesting. It’s not gonna be 100%, but there’s this slightly better than chance relationship.

Lauren: Yeah.

Gretchen: Visual representation of physical information is also something that shows up in ways of writing signed languages.

Lauren: Yeah. Everything we’ve talked about so far, I think, we’ve talked about for spoken languages, but it is possible to write signed languages as well.

Gretchen: There are several different systems in place. Some of them are language-specific like, “Oh, this is the system for writing ASL in particular,” and some of them are kind of like your linguist, International Phonetic Alphabet trying to provide a language-agnostic way of writing signed languages for research purposes but, in a way, that’s sort of impractical, like the IPA for general use. There’s an interesting set of systems. There isn’t as much agreement among representers of signed languages in writing which amounts of information are crucial information that has to be written down and which are optional bits of information that the reader can fill in from their own knowledge of the language and the signer.

Lauren: I think it’s worth flagging that that’s not just a discussion that arises for signed languages. It’s just that those conversations got thrashed out for spoken languages four millennia ago, and we weren’t around when people were arguing about whether intonation had any role in the – or people probably were arguing because it was an emerging thing.

Gretchen: Well, when people were arguing about like, “Do we write vowels or not,” which was a big thing. Do we write vowels? Do we write intonation? And punctuation followed quite a bit after – you know, punctuation wasn’t as much of a thing for several of the early centuries and millennia of writing. They didn’t do punctuation. There’s some level of ongoingness that’s still there. If you think about the internet efforts to try to write tone of voice very precisely and communicate sarcasm and irony and rhetorical questions very precisely, there’s some level of ongoing debate that’s still happening in the spoken language context but not nearly as much as is still happening in the signed language context.

Lauren: Also, just because of the way that signed language communities tend to be embedded within larger spoken language communities, people who sign as a primary language tend to also be educated in the mainstream spoken language, and so literacy gets developed in, say, a language like English.

Gretchen: I think that’s the case for a lot of smaller spoken languages as well where sometimes there’s this imperative of, “Okay, we want to be able to write things to each other” or something, but if there hasn’t been a history of a lot of published literature in that language that you’re trying to read, then it becomes a question of, “Should we teach this in school,” because there isn’t literature there, even though there would be oral literature. It becomes a chicken and egg problem of which comes first, or which do you start teaching first, when you’re constantly comparing stuff against a few very large spoken languages that have this very long writing tradition. It shows up in languages with a newer writing tradition.

Lauren: Education systems have a massive influence there. My grandmother, actually her strongest written language is German. Even though she and her sister speak to each other in Polish, they would write to each other in German because that’s the language they had been educated to write in. Even with people who don’t speak minority languages, the influence of the education system there is so massive.

Gretchen: Reading and writing, they’re separate skills even though they’re often taught together. Sometimes you can read a language that you can’t write or something like that. But it’s a big question. With signed languages, because video technology is now available, if we’d had good audio recording technology 4,000 years ago, the pressure to develop writing systems for spoken languages might not have been as strong – probably wouldn’t have been as strong – even though there are other useful things that writing can do even in the audio-video era. It’s easier to be like, “Well, you can just make a video of the signer,” and then you’d know exactly what they were trying to say and exactly how they wanted to say it. You wouldn’t have this level of abstraction of are you gonna try to write it down in a way that imperfectly represents what a person is gonna do when they’re producing it. It is still interesting looking at some of the signed language writing systems. Some of them, like Stokoe notation and HamNoSys, which stands for “Hamburg Notation System,” they try to very physically represent the characteristics of the signer – where their hands are, where their face is, and things like that. There’s another one that I can’t find the name of that is based on the ASCII alphabet, so you can type it into search engine boxes, which has some advantages as well but represents things more abstractly. It’s got this link with Korean, which was representing this very physical aspect of what the mouth is doing. Several of the signed language writing systems like Stokoe and HamNoSys also have this very physical representation what the body’s doing when it’s being produced. But I think they’re more popular among researchers than they are among actual D/deaf users who tend to use video a lot.

Lauren: I encounter Stokoe and HamNoSys in the gesture and signed linguistics literature. I haven’t really seen them too much outside of that.

Gretchen: I think that it’s easy to conflate a language with its writing system because we’re so used to thinking of English as sort of inextricably linked to the Latin alphabet. But there isn’t a reason, in theory, why you couldn’t write English in the Greek alphabet or in the Arabic alphabet or in a very adapted version of Chinese characters where you’d have to do a lot of adaptation. The same thing is true when you write languages that don’t originally use the Latin alphabet and you have romanisations of them. Writing systems are just as much political and contextual. Some of them have this very tight structural relationship to the properties of the languages they represent and some of them have looser relationships because they’ve been adapted to it later.

Lauren: It’s this slightly looser relationship to language as it’s spoken or signed that means that linguists don’t always include writing systems in, say, an Introduction to Linguistics course. We don’t often talk about writing systems. But when we were putting together the Crash Course series, we ended up making writing the topic of our final episode for the series.

Gretchen: I think partly because people are really interested in it, so why not do something about writing, and also because I think that you can use writing systems as a window into some of the interesting structural features of different languages and how the writing systems represent that. As somebody who’s really interested in internet linguistics and the rise of informal writing and how we represent tone of voice and things like that in modern-day writing, and that’s still a moving target evolutionarily speaking, I think it’s interesting to give that linguistic lens on writing systems even though they are imperfect representations of the languages that they represent.

Lauren: “Writing Systems” is Video 16 of Crash Course linguistics, which is wrapping up this month. If you’ve been holding out to watch all 16 of those episodes, you’ll be able to do so very soon or perhaps even now thanks to the temporal vagueness of podcasts.

Gretchen: Crash Course is the YouTube series that we’ve been working on basically all of 2020. It’s especially popular with high school or undergraduate teaching. If you know people that age, or who teach people that age, that may be a useful thing to send to people. We hope that people find it useful as a resource for self-teaching or for instructing in various capacities.

[Music]

Lauren: For more Lingthusiasm and links to all the things mentioned in this episode, go to lingthusiasm.com. You can listen to us on Apple Podcasts, Google Podcasts, Spotify, SoundCloud, YouTube, or wherever else you get your podcasts. You can follow @Lingthusiasm on Twitter, Facebook, Instagram, and Tumblr. You can get IPA scarves, “Not judging your grammar, just analysing it” mugs, and other Lingthusiasm merch at lingthusiasm.com/merch. I tweet and blog as Superlinguo.

Gretchen: I can be found as @GretchenAMcC on Twitter, my blog is AllThingsLinguistic.com, and book about internet language is called Because Internet. Have you listened to all the Lingthusiasm episodes and you wish there were more? You can access to 48 bonus episodes to listen to right now at patreon.com/lingthusiasm or follow the links from our website. Patrons also get access to our Discord chat room to talk with other linguistics fans – like, do you remember learning how to read – and other rewards as well as helping keep the show ad-free. Recent bonus topics include an AMA with a lexicographer and our favourite stories and anecdotes that we just didn’t have time for in some of the earlier episodes. Can’t afford to pledge? That’s okay, too. We also really appreciate it if you could recommend Lingthusiasm to anyone who needs a little more linguistics in their life. And, hey, tell your other favourite podcasts that they could a linguistics episode, and get us on! It’d be fun.

Lauren: Lingthusiasm is created and produced by Gretchen McCulloch and Lauren Gawne. Our Senior Producer is Claire Gawne, our Editorial Producer is Sarah Dopierala, and our music is “Ancient City” by The Triangles.

Gretchen: Stay lingthusiastic!

[Music]

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

#linguistics #lingthusiasm #language #episode 52 #transcripts #writing #writing techonology #cuneiform #chinese oracle bones #scripts #orthography #technology #cherokee syllabary #hangul #olmec script #mayan script #stokoe notation #hamnosys

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lofi-tophat · 4 years ago

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Let’s talk about the 70s punk scene and HWS England

I sometimes feel that the fandom doesn’t give England’s love for punk/rock music much justice. Some authors usually write about this human AU in which Arthur wants to be a rockstar and some others plainly avoid the topic whatsoever. Which is a pity because I actually believe the whole character has a deep punk reference, specially regarding appearence (might expand on this in another post but basically, for me, England seems like some random bushy browed anime 70s punk guy who suddenly has to put on a suit and attend world meetings, which is both fascinating and hilarious).

So I thought maybe we could dive a bit into very general punk history and then I’d like to share with you some hc regarding England’s involvement with punk culture in general (if you just want to read the hcs just scroll down to the last paragraph with the bullet ponts).

My experience in punk stuff is actually that I’m kind of a metalhead lol. Metalheads and punks had and probably still have a deeply-rooted rivalry. However, punk influenced metal a lot, and metal also influenced punk. So I stumbled upon many punk facts while browsing about my favorite metal bands.

Take this as historical hetalia... but counterculture historical hetalia :D (which is something we need more in the fandom, btw, I know military history is cool but its also cool how humans expressed themselves through art, fashion and music when they felt the pressure of authority and the frustration of society).

Historical context

Let’s return a bit in time and remember the 60s. The 60s were this blessed time in which people tried to defeat the establishment with peace and love. The hippie movement is from this decade and it influenced a lot on how people thought and behaved. In terms of counterculture, I must say this is a fascinating time in history (I recently discovered psychodelic science and its so incredible what was being talked back then).

Anyways, although a lot of young people were into this discourse of love and peace, some weren’t really that happy about it. In Europe, the post-war situation was sad and a lot of young people either were jobless or had the shittiest jobs you could imagine. Politics were also depressing. This was the origin not only for punk but also for other genres of heavy music, such as metal: People who didn’t want to be all happy and peaceful and had the need to express their frustration and anger, shouting about how society was fucked up. They needed an outlet.

Origins of punk

The origins of punk music are actually not quite clear. In fact, the US and the UK both claim that punk music was born in their country. Funnily enough, my country also claims to be the origin of punk (I’ll leave this mini-doc for you. Sadly, I don’t think this is a correct claim, mainly because their music was in spanish and I doubt that major punk bands took them as reference. Its a cool band tho).

I have to side with americans on this: The arguments for the american origins of punk are quite solid. The Ramones were the first actual punk band out there. They were active since 1974. Their music had all the elements of punk and, chronologically, they were the first ones performing this type of sound.

However, they didn’t have the aesthetic. That actually was a british invention. American punk had still leather jackets, jeans and sneakers. British punk? Well, remember all those ripped pants and shirts you commonly associate with punk? Yes, those were the Sex Pistols all along. They were the ones introducing the attitude and the style. The Pistols had some insane performances and a huge shock-value that can’t be found in early american punk. So you can safely say that your image of what a punk is is based mainly on the Pistols (also, for singing anti-authoritarian lyrics, they actually were managed by some dude who had a fashion shop. So yeah...).

Punk attitude or philosophy or whatever

The reason why I addressed the rockstar thing at the start of the post is because I find it curious. Punk is characterized by the whole Do It Yourself attitude and breaking with the establishment. Anarchism in punk is scandalizing people since there is no authority whatsoever. There wasn’t really any deep philosophy behind all of this, nor any political movement. Punk has nothing to do with a formal anarchist philosophy (which actually exists and has nothing to do with disorder). However, punk is characterized by the anti-establihsment lyrics. Remember, this is all about scandalizing people (which sometimes took great lengths). Presentations from british punk bands were also quite wild those days. They involved a lot of insults, spitting and, of course, pogo.

So, it is obvious that there is this deep concern about turning into a sellout, a pretty common fear in any underground scene. Authenticity was encouraged. Aspiring rockstars really didn’t have much mercy in the community so to speak, at least in this specific period.

I would also like to add how punk had other aspects beside the music. For example, fanzines were pretty popular in the punk scene in the 70s and a great way to engage with what was going on with bands and music. I remember also this interview of this band in which they remembered how a very high guy decided to recite his poem while the band was playing. So, yeah, literature, illustration, fashion and other stuff were involved in the punk scene too.

British punk was also characterized by a very nihilistic attitude and a total disregard for previous influences. 1977, a song by The Clash, stated:

No Elvis, Beatles, or the Rolling Stones!

Now, for the important stuff: The music. Punk music is all about being simple. Punk musicians aren’t really known for their virtuosity in their instruments, something that actually inspired musicians from a lot of heavy bands later. In fact, the famous Sid Vicious from the Sex Pistols never could learn how to play the bass. So the band disconnected his instrument from the amplifier and he only had to pretend to play. The guy actually tried to learn how to play bass but music wasn’t exactly his talent. He had tons of punk attitude though, and that was the reason why his band didn’t kick him out.

Vocals are usually shouted, the rythm is fast and the riffs are quite simple. In fact, there is this famous publication on a 1976 british fanzine that stated:

This is a chord

This is another

This is a third

Now form a band

HWS England and the 70s punk scene and onwards

Thanks to his immortality, it is obvious that England had to experience the 70s in all their glory (what a lucky bastard). Was he there? Hell yes. As I explained before in some of my hc posts, nations represent the population more than their Government, so I really believe that England felt the frustration from that post-wwii decade and he probably also felt pissed about this. Working for the Government must have felt really frustrating during those years.

In the past, he probably would have tried to take his ship and sail the seas or whatever, but that was not possible in the modern era. I guess that’s how he discovered punk.

Now, rock existed in England before punk. I mean, the Beatles, duh. So Arthur wouldn’t have been completely ignorant about rock music in general. Contrary to popular belief I don’t imagine him being that much of a beatlemaniac though. Sure he likes them, but the music didn’t resonated with him as much. But boy, that first time he heard the Pink Fairies in 1971 (Yes, this was an actual band, a proto-punk band)? Yeah, he could relate more to that.

More detailed stuff here:

Pubs were crucial for the development of punk music. They were these spaces in which bands could play, a venue to discover new music. Yes, Arthur must have been a regular in a lot of these pubs.

Fanzines probably fascinated Arthur as an outlet for his own writings and silly drawings. He probably created a cringey pseudonym and collaborated with a lot of them.

Its canon that England likes to critic american movies, and, taking from there, I think he’s the type of guy that has an opinion for everything. So I can imagine him also writing about what bands he enjoyed and what bands sucked.

Yeah, I can also see him being drunk and just reciting a poem while some rock band played behind.

With some ability, and a lil bit of tricks, Arthur could escape normal Government activities and perform with punk bands at nights. People were so into the music that he had no problem passing by.

Some cover art in CDs show Enlgland with a guitar and a bass (yes, not many people remember the bass cover art). So he probably plays both guitar and bass. He also probably plays the drums. Of course, he’s no virtuoso and he only knows the most basic stuff in those three instruments. I can see him being into songwriting tho.

Music equipment:

Guitar: Definetely a Telecaster

Bass: Fender P-bass and I can also see him having a Rickenbacker 4001

All these instruments are full with stickers. Punk instruments look really cool btw. (I wish my bass could look like those I see in certain punk bands)

England’s probably the kind of guy that doesn’t cut his strings at the head of his guitar.

He can actually play guitar/bass and sing at the same time.

England plays bass with a pick (what an asshole, we bassists know picks are not allowed)

Contrary to popular belief, I can see England appreciating good rock music from other countries and supporting them. He probably insists that punk music was born in the UK though.

1977: The Queen was going to celebrate her silver jubilee. And England had no problem with this. He really had none... but he HAD to be in that boat trip with the Sex Pistols. There’s no way he was going to miss that. He later had to explain his abscence that day to his Government officials (Btw, my hc for England’s relationship with his monarchy is “It’s complicated”. I can explain this later. Just remember that he was really pissed those days)

I can see Arthur in general being really involved with the scene. A lot of the stuff they were making actually matches with his canon interests and even personality. So he probably enjoyed those days and felt quite at home. I can even say that, for a long time, he hadn’t felt that kind of connection with his own people.

Although I can see England being attracted by the nihilism in the scene, I think his romanticism protects him from embracing it fully.

England had to live a double-life during this era. Not that it was new for him.

Arthur was pierced several times by some random, drunk teenagers. He doesn’t remember who tho. He was also drunk. Obviously his piercings close really fast, unless he has a permanent jewel in there.

I can actually see England expanding his music taste. Although punk is in his heart, it wouldn’t be strange for me that he’s overall a rock nerd and enjoys other genres, specially those with fast drum beats and heavy riffs. So I can see him having some metal favorites too, having a certain taste for prog rock and even digging into hardcore.

I’m still unsure if England would have been a massive Pistols fan as fanfics usually portray him. I mean, maybe? I would say he is definetely into acts such as the Pink Fairies (I mean, c’mon, its perfect). The Clash and the Damned probably also have a place in his heart.

After the punk scene dried out (the 80s weren’t that great for punk music although it was the birth of even heavier forms of music based on punk), England also was eager about the new genres flourishing during these times based on punk. Acts like folk punk might have had an appeal for him. He’s also fond of the punk-ish bands from the 90s like Green Day.

“Punk will never die!” shouted England while stage diving in some random small concert. He likes to support new bands these days.

The most fascinating thing, maybe in a more poetic sense, is that England’s immortality probably also helps him to keep up a punk spirit as much as his nationhood allows him, instead of aging poorly and angry like a lot of punk musicians... I mean, he aged poorly, but for other reasons lmao.

#hetalia #hws england #lofi-tophat: really long hc #in the next issue: America is a swiftie WITH EVIDENCE #I do enjoy some american metal bands but I don't see America being that much into heavy music #he probably doesn't even care if punk was born in the us or not so england maybe won that one #guys i could ramble forever with my music hcs but ill just leave you with Moldovas extensive pop collection #finland's passion for folk metal acts like korpiklaani #and cuba shouting AZZUUUUUCAAARRR in karaokes #btw pirate metal exists kind of as a subgenre but it exists and england is into it

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rawr-ily · 4 years ago

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A Stupidly Long Bokuto Analysis

CEO of thought dumping and calling glamorized rants “essays”

I already made a character analysis for my kin character (Oikawa) so here’s one for my favorite/ultimate comfort character :)

"The world" is a recurring theme with Bokuto. He has a strange habit of always looking at the bigger picture. By which I mean, he doesn’t really look out for little details. He's simple minded, so he takes things at face value. Tokyo isn't enough for him. Japan isn't enough. Asia isn't enough. He wants the world. He doesn't care if it seems like too much, or if it's unreasonable. He knows what he wants, and he's going to get it.

This is more noticeable in the manga. For example, there's the iconic "No matter what they say, we are the protagonists of the world" . Yes, I know Akaashi is the one the says this line, but it really mainly applies to Bokuto. We know Bokuto has this strange sort of charisma that makes him ridiculously likable to pretty much anyone. Now, I REALLY didn't wanna make this about Akaashi, but it seems like that's actually Furudate's intention. It's almost as though he didn't want to give us direct access to Bokuto's thoughts for most of the series. Instead, how did we get that? Akaashi. Akaashi is the narrator for Bokuto's thoughts. Bokuto is so random, so unique and strange, that it wouldn't make sense for us to have access to his mind. Yes, we get direct thoughts from him time to time, but Akaashi is the one who really tells us most of it. He's there to filter out Bokuto's thoughts because it would be too strange for us to understand. We would never be able to figure out Bokuto because he can't even figure out himself. That's technically Akaashi's "purpose" in the story. I don't mean that in a bad way though. I would explain more, but I wanna keep this about Bokuto as much as possible.

ANYWAY, we can sort of see Akaashi as an "extension" of Bokuto. When Akaashi says "we are the protagonists of the world", he is not talking to himself or the reader. He's talking to Bokuto, because he knows Bokuto wants the world. Another thing about this quote is that he begins with "No matter what they say..." This kind of made me to a double take. Why would someone say they aren't? But then I remembered in the manga, we get a scene of Bokuto running with some classmates. It was probably for a gym class of sorts. It's Bokuto's turn to set the pace for their run, and everybody's upset because he always goes too fast and too overboard. Bokuto doesn't really notice, and he goes forth anyway. However, after a while, he looks back and realizes nobody is running with him anymore.

Sound familiar? Kageyama's teammates left him in the same way Bokuto's did. They couldn't keep up, so they abandoned them. We're more familiar with Kageyama's past, so it's a bit easier to understand Bokuto's if you see that little parallel. I might be reaching a little here, but it's possible that people have told Bokuto that the world doesn't revolve around him in the same way Kageyama was mockingly called a king. It's a common thing said to people like Bokuto, who don't really understand much outside their own head. It's not a bad thing, but many people misinterpret it as arrogance or a disregard for others. Bokuto's charisma apparently didn't work for everyone, considering how annoyed his classmates were; I think it's a possibility that people made some snide remarks.

We also see that Bokuto is actually incredibly desperate for validation. He constantly brags about his amazing talent, always wants people to see the cool things he does, and thrives off compliments. He wants attention, and that's not a bad thing at all. It just means he wants people to acknowledge how great he is, and he feels happy when they do. That's really just scraping the surface of all that quote tells us, but I want to move on to something else.

Another recurring thing about Bokuto is his use of the word "ordinary" It seems that he doesn't really understand what the word means, but I think he knows its meaning better than anyone. Bokuto using the word first stood out to me when Fukurodani player a difficult match against another school in Nationals. I'm not too familiar with the timeline, so correct me if I'm wrong. Bokuto told the rest of Fukurodani that, up until that point, he was "an ace coddled by his team" and now he's ready to be "just an ace". He wants to be an ordinary ace, which seems quite strange. This is Bokuto, and wants to be ordinary?

Bokuto has a different understanding of "ordinary" than most people do. He's simple minded, not stupid. It's not that he doesn't think; he just thinks differently. He's that unique type of person who thinks out of the box by default. When most people think of ordinary, we think of boring, plain, normal. It's been given a negative connotation by most people. Bokuto doesn't listen to connotation.

Remember that he takes things at face value? This is an example. To us, ordinary is boring. To him, it's a goal. Bokuto sees ordinary as what things are supposed to be. He wants to be an ordinary ace. Aces are supposed to be the awesome, powerful stars of the team. Aces are supposed to be the best. He wants to be the best. Therefore, he wants to be an ordinary ace. It took me an embarrassingly long amount of time to fully understand that entire bit, to be honest.

It's actually more clearly stated in one of the last manga chapters after MSBY vs. Schweiden. Akaashi interviews Bokuto for the manga company he works at, and Bokuto tells him that he has become "ordinary". Akaashi is confused and tells Bokuto that he has never been ordinary. Bokuto laughs and makes some remark about how Akaashi didn't realize just how ordinary he's become. We get a little throwback to Akaashi's 0.5 second thought process, and he realizes immediately that Bokuto doesn't use the word "ordinary" like he does. Even more impressive, he seems to also realize exactly what he means by it. Akaashi tells him that he (Akaashi) was mistaken and Bokuto is actually "super ordinary".

THIS PART TOOK ME A GOOD TWENTY MINUTES, AND AKAASHI DID IT IN 0.5 SECONDS. He's the real master at Bokuto analysis. Though Bokuto doesn't get enough serious background, so he's a difficult one to analyze. It's also much harder to put him into words? Again, he's a very unique character. He even has a surprising amount of duality in him. Though we as a fandom perceive him as an optimist, it seems his mood swings often force him into a state of overwhelming pessimism. I actually find it quite funny. It's almost like his left brain and right brain are fighting a battle, and left brain almost loses but summons the strength to momentarily completely overwhelm right brain before it takes back control. I got a very strange visual from that though.

Regardless, it just means I think his mind tries to balance out his naive optimism with intense flashes of pessimism. Bokuto gives his all to EVERYTHING. That's actually sort of an issue for him. If he's happy, he's VERY happy. If he's upset, he's VERY upset. He wants to be the best at all he doesbecause he just wants to have fun. He's not having fun when he loses, so he doesn't want to lose. It's so simple, but it's strangely inspiring. It's the straightforward answer to Tsukishima's question. Why do we push ourselves to be the best when we know there is no such thing? What motivates us? Our desire to win. What makes us want to win? Our desire to win is fueled by hatred for losing. Why don't we want to lose? We don't want to lose because it's not fun. Why isn't it fun? It just isn't. Bokuto doesn't try to dig for those answers. After all, why is anything the way it is? What does it matter? He doesn't care as long as he's enjoying himself.

I suppose that's one of the nice parts of being so simple minded. He's able to enjoy life to the fullest because he doesn't want to focus on things he doesn't like. That means his future character growth will be about having to do things he doesn't like because that's a part of life. It'll actually be quite sad to watch Bokuto grow up. What he needs to do is find a balance for all the duality in him so he doesn't need to give up his childishness or force out his mature side. If he can find a balance, it just means he'll be able to do both when he needs to. If he can do that, he'll get through everything life throws at him. He can still have fun.

He doesn't get enough serious screen time, so I can't really say anymore about him that can be reinforced by things from the anime or manga. This was only around 1.5K, so hopefully it was a pretty easy read? I still don't wanna edit this, so just tell me if things don't make sense! Also, please remember that Bokuto IS NOT AN IDIOT, SO PLEASE STOP CALLING HIM ONE IF IT’S NOT FOR COMEDIC PURPOSES. Thank you :)

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poirott · 4 years ago

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This is the 2nd part of the "Riddle of the Spinx" interview with Death on the Nile cinematographer Haris Zambarloukos for British Cinematographer November 2020 issue (part 1 transcribed here). The full interview has now been released on the British Cinematographer website. I've included some of the text below!

In Part 2 Zambarloukos talks about shooting with the cast on location in Egypt and doing a particularly complex single shot of them on set, how they did the opening b&w sequence of young Poirot as a soldier, and built sets of Abu Simbel and the pyramids, the use of realtime footage projected on LED screens to make the studio sets look more realistic, what part of the Murder on the Orient Express set they recycled for Nile, etc.

Q: This was shot like Murder on the Orient Express at Longcross Studios with plates filmed on location in Egypt. Was it ever a possibility to shoot entirely on location?

Haris Zambarloukos: The issue is that 1934 Egypt barely exists today. For example, in the 1960s they moved the Abu Simbel temple 300 metres away so that the Aswan Dam wouldn't flood it. So, we built the entire four-storey high Abu Simbel at Longcross, complete with banks of water. The same with Giza and the Sphinx. In the 1930s the Nile went up to the feet of the Sphinx. Now all you see is the concrete expanse of Cairo.

Secondly, it's difficult to shoot complex shoots on a river while floating, taking all the cast down there and scheduling them, on top of ensuring everyone's safety on such a high-profile project.

Our whole design and research went into creating a set. We wanted to build a life-size boat inside and out; not to break it down into small sets but to shoot it as if we were on a boat. That’s a huge undertaking. Jim Clay built an amazing set to scale for the Karnak. It was so big we needed to build a temporary sound stage around it. We also wanted to use some real daylight when we got great sunlight in Longcross and use a little bit of water to basically film the boats carrying guests to the Karnak.

We recycled the railway from Orient and built the boat on that so we could wheel it in from outdoors to indoors. We built a very elaborate lighting rig that you could pull back and see the entire boat in one shot. You could step onto the boat and walk through all the rooms which were all lit for an analogue film f-stop. It was complicated and took most of our planning but I personally don't think you can tell the difference when we cut - even from a shot filmed outside in real sunlight juxtaposed with one in apparent sunlight on our sound stage. It's seamless because we took such great care and a detailed approach to our rig and construction.

In Orient you created some stylish direct overheads of the train carriage. You've told us of the Steadicam dance sequence in Nile. Were there other stylistic flourishes?

Inside the sound stage we went twice round the Karnak with the entire cast all choreographed for this one great reveal of a murder. It was really hard work to do. I understand why it was cut in the edit although they have kept a lot of other single long takes and there are lots of places where you see the whole cast in a single shot.

However difficult you might think setting up a long single is in terms of lighting and operating, it is equally, if not more difficult, to block a scene with multiple actors, keep the audience engaged and choreograph it in a way that is exciting and at the same time reveals things gradually. There's a lot of pressure on a lot of people in shots like that. Everyone's got to be on top of their game. Because we're all so interdependent, it's a domino effect in that the further you go in the take, the bigger the responsibility is for not getting it wrong whether that's the operator, focus puller, the actor saying the final line, the gaffer lighting a corner at just the right time. We always get excited about those shots but also very nervous.

You augmented the studio work with plates photographed on location in Egypt. Tell us about that.

We filmed on the Nile from a boat with a 14 8K Red camera array. We had a 360-degree bubble on top of the boat and two three-camera arrays pointing forwards and backwards as we travelled up and down. We specifically chose areas where modernity wasn’t present (or where it was, we removed it in post) and we also shot plates from the point of view of passengers onboard the Karnak.

VFX supervisor George Murphy edited the footage and stitched the plates together into an essentially very, very advanced virtual reality rig in which I could pan my camera. We did that before principal photography, so we never had to guess a month or so later what to put there. That’s a big help. Most shoots do their plate photography afterwards. It meant I could pretty much place the camera on any deck of the Karnak for any scene and know what the background would be.

As with Orient, did you play back footage realtime on LED screens outside the boat set?

I'd love to have done it live but on Orient we were only dealing with one wagon's windows at a time. It was still the biggest LED set-up ever done to that point, but the Karnak set is 20 time bigger than that. There aren't enough LED screens available – plus it would have been prohibitively expensive.

Instead, I went for a much larger version of a technique I'd used on Mamma Mia which was to hang back projection screens all around the boat – 200m in circumference, 15m high. We used Arri SkyPanels at a distance to create a sky or a part of the background. It could also be converted into a blue screen when we needed to. It meant that if I had a shot looking above the horizon line into the sky then it could be done in camera.

How confident were you of retaining colour and contrast from set to post?

I took stills on the recce and we used those to the create colours with this back projection for our skies. I take prints (not digital stills) so there is no misinterpretation. A still is a piece of paper that you can see. Once something is emailed across and seen by someone watching on another screen the information can get lost.

At the same time there were a lot more checks and balances put in place. We had a projector at Longcross and I watched dailies with (dailies colourist) Sam Spurgeon every lunchtime. With Kodak and Digital Orchard we have a very quick process to convert analogue filmmaking into digital by the next morning. Film is processed at night, they scan at 4am and by mid-morning those digital images are transferred to our dailies suite at Longcross. At lunch we’d watch it digitally projected, having been processed, scanned and graded at 2K.

I check that first and give notes to Sam and those get transferred onto our dailies which is what Ken, the editorial team, VFX and studio team sees. That's a major check. It's me with someone in a room, rather than me talking over the phone which is a big difference. I have a very good relationship with Goldcrest and (DI colourist) Rob Pizzey who also sees things along the way. I supervise the grade at the end. So, there's no need for anyone to interpret anything. It’s a collaboration in which we all look at the same images.

Did you shoot black and white for the opening scene or convert?

We shot colour for a couple of reasons. Although Kodak could manufacture BW 65, there is no lab in the world to processes it. Plus, there’s a certain skill to grading BW using colour negative and the added benefits are that that you can place a grey tone to a colour. For example, you could take red and decide it will look a very dark grey or a light grey, so you get very detailed tones. Ultimately, I get much more control in the DI this way. They were very monochromatic battlefield sets and costumes so it was quite limited in this case. The Germans wore grey and the Belgians wore dark blue and it’s a dark sooty gas-filled battlefield but you could manipulate the blue in the sky a little bit more and certainly manipulate the intensity of people’s eyes - especially if they had blue eyes (which Branagh does).

How did you handle sound sync?

To do sound sync work on Orient we used sound cameras that are twice as heavy as high-speed cameras, so I wanted to develop soundproof housing (blimp) for our camera on Nile. I took the problem to Stuart Heath at BGI Supplies at Longcross. They've made all sorts of props for us before, from Cinderella’s carriage to the furniture on Nile. I told him that I needed it really quickly. All my other attempts had failed. Stuart suggested using a material that they soundproof the interior of helicopters with. He brought a draper in who basically measured the camera as if making a dinner suit for it and quickly made a couple of versions for us. It was very effective and really opened up the Steadicam possibility for us. All from just wandering onto a workshop on the lot and asking a friend if he had any ideas about how to achieve something. In the old days that’s what everyone did – the answer was somewhere on the lot.

Finally, after six films and 14 years working with Ken Branagh, could you tell us what makes your relationship tick?

It is a fantastic friendship. To begin with you must be able to maintain a professional friendship with any cast and crew which is all about doing your very best and understanding where you have common aesthetics and shared thoughts about humanity. Ask what kind of world you want this to be, because that will come through in your filmmaking.

As you say, I've spent years working in close proximity to Ken and we have a mutual affection and admiration for each other otherwise we wouldn't be doing it for so long. He is relentless in pursuit of perfection and in his advancement of storytelling and is inspiring to work with. It means you have to be as relentless in your area of craft.

I think we both like making the same kinds of films. I'm a Greek Cypriot who grew up with Greek myth and tragedy. Ken's love of Shakespeare is legendary. You can easily see the lineage between Aeschylus (the ancient Greek creator of tragedy) that goes all the way to Shakespeare. Perhaps that appreciation for the human condition in its best and worst forms is the tie that binds.

Photo credit: Rob Youngson

Source: britishcinematographer.co.uk - February 4 2021

#death on the nile #agatha christie #poirot #hercule poirot #kenneth branagh #been waiting for them to release the rest of the interview! \o/#it goes into a lot more detail than the average article #great interview for fans of behind the scenes stuff #ken's brilliance strikes again :)#i'm fascinated by the 'going twice around the karnak' single shot #sounds like the 'figure 8' shot in MOTOE but even more complex #and they fragmented it?#and the LED screen tech is much larger this time #OMG poirot in dark blue belgian army uniform <3 #hope they release some promo pics of it so we can see it in color #the overhead pic of poirot on set has circular camera tracks around him #it's gonna be an awesome shot i'm sure

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austennerdita2533 · 3 years ago

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Hey!

I love Penelope Douglas for sure check her out! She writes some of the best smut tbh. I’m working my way through her devils night series right now-I’m on book 2. It’s good so far, definitely dark though. I’m interested to see how she goes about a redemption arc for the character Damon right now I don’t think he deserves one but I hear such good things about his book, Killswitch, but that’s book 3 so I will see how it goes. I definitely recommend Birthday Girl from her though I loved it and the couple from it are my favorite age gap could I’ve ever read. I find myself still re reading some of their best moments.

I am slightly embarrassed by Credence though so I hope it doesn’t bother you too much if you read it. Just so you know before going into it, it is about her and her step uncle/cousins. To be fair they are not blood related and very distance to the point she didn’t even know about them. But she does call him Uncle Jake during a sex scene, and the two others call her cousin during one too. There’s also a MMF scene with her two cousins. But on top of that there is a sexual assault scene (it does get stopped but the intent is there)-personally I wasn’t a fan of how she inwardly dealt with that scenario it felt like she was blaming herself for it instead of holding the other character accountable. Uncle Jake also does kiss her when she is still 17. So if any of that makes you uncomfortable don’t read it.

I’m so happy you liked the atlas six as much as I did. I can’t believe we have to wait until next year for the sequel to see what happens. It’s too long!! I also liked Callum the least, I still appreciated his character though and what he brings to the story I just wasn’t a fan of his, probably because of his problems with Libby/Parisa. Plus his powers terrify me-as someone who likes to have full control of my emotions the fact that someone could just change everything scares me. I also loved Nico he is my typical character that I love the whole I’m an asshole but soft and caring for the people I love gets me every time. Parisa is my queen though I’m obsessed with her. Like I’m literally in love with her, I wish she was real so she could be with me instead. Not that she would because I’m broke have 0 magic or power to give to her, but still. But I have a thing for power hungry women so I was gone the second I met her. But anyway if she was real she could destroy me or do anything she wanted to me and I would say thank you. Reina I also love and agree she could destroy the whole planet and one day probably will. I just love how she is there and wants all that knowledge but also doesn’t give a fuck about anyone else. Tristan also grew on me I’m still not completely sure how much I like or don’t like him yet he gets annoying sometimes because he is constantly in his mind about his alliances but I also love how loyal and caring he is. Libby is my girl!! I also relate to her as well since I was an outcast and battled inadequacy and all that (you and I must have some stuff in common!) Out of all the characters I relate to her the most and am rooting for her so hard-also because the author made her from Pittsburgh and I’m also from the area so I felt personally attached. But Olivie just did an interview and said Libby is getting a corruption arc and I am so excited about it!!

Okay ships- so I will be honest and I think it’s an unpopular opinion but oh well-I am a nicolibby stan. They have every single dynamic that I love in a ship and they could potentially be my favorite book couple of all time if that is the road they are being taken. Honestly I was obsessed with them from their first interaction so i have it bad for them. Obviously I know they were not romantic in this book but the potential (at least for me) was there especially in some of their quotes in the end. I fully believe they are soulmates though-even the author said they were born on the same day and feel like their other half is missing in an interview once-whether that will be platonic soulmates or romantic soulmates I have no idea and I could see either happening. My heart will break if it is platonic but it’s okay I can just live in my own little head about their potential.

But I get the idea and also like both libbytristan and NicoGideon and could see those happening instead of nicolibby too. I wouldn’t say I would be mad about it either-I do like both just to me the potential of nicolibby works more for me! My only thing about libbytristan though is I’m not sure how much of their tension/feelings are real (like did any of it exist before Parisa put the idea of the other person in their thoughts to lead to all the feelings.)

Weirdly enough since they probably my least favorite characters I also adore Tristan and Callum together. Their dynamic just works for me.

And I love Parisa and Dalton too and I’m so interested in how that relationship pans out because they have some stuff to figure out. But they work well together and honestly they are just so sexy together so I’m down for it. Although I do ship myself with Parisa more than her and Dalton but I’m biased.

Honestly though all the ships are wide open though so I’m curious to see what ends up being endgame. But omg yes the twist I was not expecting it-I’m so excited for the rest of this trilogy!!!

In other news though I finished up the ravenhood series. I know you said you either read it or it was on your tbr. But god I loved it. That series broke me and then put back all the pieces. If you haven’t read it and want to feel both heartbreak and happiness I highly recommend it!

Oh and don’t apologize for babbling as you can tell I also babble!!

-ACOTAR anon

Hiiiii sweets!

I've been sifting through a bunch of summaries of Penelope Doulgas' work on Goodreads and there's a bunch of stuff there I think I'd enjoy. I'm all about good smut. I didn't realize she had that many books. I'm excited! Thanks so much for the rec! I love dark romances/erotica every now and again so I'm also going to have to dive into the Devil's Night series at some point.

Oh, and idk if you know about it/read it but a couple of my friends told me about the Crossfire series by Sylvia Day a while back. It's BDSM, like Fifty Shades, but supposedly loads better. I don't know if you're into that but I figured I'd just throw it out there anyway. The smut is supposed to be steamy. I haven't read it yet but I do have the first four novels on my Kindle (where they've been sitting, unread, for about 2 years now)...so that's something haha.

And please don't be embarrassed about Credence. Seriously, the most wonderful thing about reading is you can go wherever tf you want in your imagination. No one can stop you. There are no rules. No restrictions. You can be whomever or whatever you want to be for a while, morality notwithstanding. One of my favorite things about books is that I can experience the most bonkers, outlandish out-of-this-world stuff that I'd never dream of wanting/liking in real life. It's liberating!

Thank you for the trigger warnings, though. I appreciate that. None of them sound off-putting enough to keep me from reading it. (Tbh, I want to read it more now.) I've read loads of books where characters marry or have sex with their cousins or siblings *waves at ASOIAF, the Secret History* so it doesn't bother me. I've also read most of Lolita and all of My Dark Vanessa by Kate Russell, which both romanticize pedophilia in disturbing degrees, so it takes a lot to put me off. If curiosity could kill then I'd be long dead by now. Hell, sometimes I will purposely read things I know will upset me to my core. What can I say? I'm a weirdo. 🙃

I DON'T WANT TO WAIT A YEAR FOR BOOK 2 OF THE ATLAS SERIES, EITHER. AHHHHH. How am I going to make it that long? It seems so far away!

Callum is the most terrifying of them all right now, imo. I think that's why I disliked him the most. Like you, it shook me to my core to imagine someone like him being able to toy with my emotions. I have a tendency to detach, to keep my emotions pressed close to my chest so that I can't be manipulated or hurt, and the idea that someone could have power over them, over me in that way is...no freaking thank you! I would put as much space between him and me as possible. Most of the Atlas crew had the right idea there. He does bring a lot to the story, though, like you said. I have a feeling he's going to be one of those characters I "love to hate" as the series progress. I might even grow to "hate to love" him, idk. He's just such a shady bastard! And so judgmental/mean to the girls.

I'm with you on Parisa, by the way. She's the kind of conniving, ambitious siren of a woman I can get behind. She has a similar vibe as Katherine Pierce on TVD. I mean, there's nothing in her arsenal she won't use and I love how she weaponizes her beauty. It's delicius. She's unpredictable. Definitely the type of character who inspires "scared and aroused" energy any time she walks into a room. Like, she could choke you and instead of crying you'd just ask her to do it again...harder lol.

Reina has the same kind of "no fucks given" attitude I have because I genuinely don't care what people think of me, either. I'm just here to do my thing. Be nerdy. Learn. Whatever. And Nico is my fave for the same reason as you--the asshole who only has soft edges for those who matter to him. *heart eyes*

Omg, Libby is going to have a corrupted arc? AHHHHH. That's going to be amazing, I cannot stinking wait! I was sort of hoping she'd go dark so now that it's confirmed I'm even more pumped. Also, I think you and I have more in common than either of us realized. I'm from the Pittsburgh area, too! How wild is that? Maybe there's something in the water here and that's why, like Libby, we've both felt inadequate and like outcasts at different points in our lives? Olivie might be onto something here...🤔

The thing that's been so cool for me about this series so far is that there are a bunch of potential pairings I could get behind. And I kind of like that it's not clear cut right now. Most series I know who I want together or who will be together like halfway through book 1. I like that I don't know have firm preferences and am still open. That's novel. Not to mention fun!

I don't blame you for shipping Nicolibby so hard, though. They're definitely one of my top contenders for a romantic pairing. They have that enemies-to-lovers element with witty banter that I always gravitate toward. And you're right about Libby/Tristan. I don't know how much of their connection was manufactured because Parisa intervened, either. That'll be fun to puzzle out moving forward. And Callum/Tristan should NOT be a ship I like but they have a palpable something that I can't put my finger on. I've got my eye on them, for sure.

The Ravenhood series is still on my tbr. I'm so happy to hear you enjoyed it so much, though! It's rare to read something that just ticks all your boxes. The next time I'm the mood to binge a series I'm gonna have to pick that one up. :-D

I've been trying to clear out my backlog of ARCs lately. (Not possible because I'm getting more on the regular - as in constantly haha - but I'm trying.) I just finished Wish You Were Here by Jodi Picoult, which has a Sliding Doors premise that is set during the pandemic where the main character has a parallel life experience (one, where she's in the Galapagos Islands on vacation when the shutdown hits so she's stuck there with strangers, alone, not speaking the language; the other, where she's in Manhattan with her surgeon boyfriend and recovering from COVID). It's intense but so, SO good! Picoult is such a good writer. Anything I've read by her has been moving, with rounded and real characters. I haven't been disappointed yet. I so recommend her.

Oh, and if you're into nonfiction/biographies at all I finished The Splendid and the Vile by Erik Larson not long ago, which is about Winston Churchill as well as those around him, and it was fantastic! Read more like fiction. I loved it. I am no longer surprised it was on all the BEST lists for 2020.

#anonymous #darling acotar anon #replies #the loveliest of lovely people #ashlee bree talks books

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starberry-cupcake · 4 years ago

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wait, can you tell me more about D'Aulnoy being inspired by midwives and nurses? one thing that stands out a lot to me when reading her stories is how much more classism, racism and ableism her stories contain, so hearing about the working class influence on them would be interesting

I am going to apologize beforehand for the length of this response, I hope that at least some of this is interesting :/

To put it out there from the get-go, she was a high class woman in the late 17th century/very early 18th century who had the means to publish so yes, her stories are problematic. I think the classism continues pretty unquestioned all the way until HCA in European fairy tales, but the racism and ableism don’t stop there. Some of that is even carried out to fairy tales of the European colonies, later independent countries, in which the class system remains the same, albeit the figures of heroes tend to come most frequently from low class workers (the figure of “peones de campo” in Latin American stories, who win fights against Kings, for example).

But, back to Madame d’Aulnoy, the presence of midwives and nurses in d’Aulnoy’s life, and pretty much across the conteuses of the time, was what is said to have actually influenced the early presence of fairy “godmothers”, which would later be known as one of the “donor” archetypes. She had several stories with fairies in baptisms who cursed or blessed children, depending on the parents’ behavior, and some of them were present through their entire lives. The presence of fairies in births is said to come, at least partially, from midwives and nurses.

Madame d’Aulnoy was given in marriage to a 45 year old man when she was 15 years old, 4 of her children were born when she was a teenager (it is said one of them might have died when she was imprisoned). Her husband was a known unlikable character with political influence and has been described also as a “libertine” and “depraved” by scholars (her imprisonment was actually because she tried to get him arrested for treason and it backfired on her). Basically, she was not in a healthy marriage and she had 4 children when she herself was a child.

Because of this, the figure of midwives and nurses was very present during her life, some academics say that the fact that they were present during birth and in several instances of the development of children was important for her and the other women telling stories in salons, and that carried into the figure of the fairies.

The conteuses tended to have conflicting relationships with men in their lives and many shared these sort of experiences with d’Aulnoy (it is said that she aided Angélique Ticquet, for example). So many of them had this same experience, when it comes to the relying on these other figures for the birth and care of their children.

The uses of fairies, witches and goddesses as prominent characters was also derived from folklore and paganism as a way to establish a separation with the patriarchal figures of the court and the King, and many of those figures related to both art accessible to the high classes (opera, Greek and Roman myths) and the stories these working women were known to tell (many of the aspects of pagan beliefs were carried as memes— in the academic use of the word, although it’s similar to the current use of it— to the fairies in stories).

d’Aulnoy is said to have coined the term “fairy tale”, in her stories and those of her contemporaries the presence of fairies was used as an expression of female empowerment (for the women of that class at that time), but they carried memetically beliefs, stories and characteristics of women who had been around in their lives, especially midwives and nurses.

Now, when Perrault published his book of fairy tales (under the name of his son, because he wanted to distance himself from them), he also took these ideas, both from the stories the nurses told his children and from the way in which the archetype of fairy had developed in the salons where women narrated and then published their stories. The main difference between him and the women in salons, which would I believe influence the genre from then onward and establish the classism more deeply, is that he had a more morally-charged intent to educate through them, “translating” the stories to what people of his own class would appreciate and giving lessons and morals (especially to young women). The salonniers were more into their own depiction and their own enjoyment, even if morals or ideals were carried in their stories, Perrault was the one who coined the whole moral at the end of the story to educate society as a whole. Or, the part of society he cared about.

It’s important to note that most women storytellers of this time and further down the line continued with the classism, even if the inspiration of some working women was there. I think a distinct point of change from widely known fairy tales might have been, in the mid 18th century, when Beaumont adapted Villeneuve’s Beauty and the Beast and made her Beauty of common descent rather than a princess. Still, Beaumont’s intent was to have young girls with enough means to “marry well” and get an education in different languages to settle with a convenient high class husband, so even if it’s a distinctive point, it’s still classist.

Later on, compilers like Laura Gonzenbach with her Sicilian compilation, for example, would be more respectful of the class depiction of women and kept the narrator voices as faithful as possible, but there was still a type of editing from a higher class woman into another language (she published them in German, for reasons long to explain here), which created still a sort of barrier, as much as she tried to respect the source. In the early 20th century, Berta Elena Vidal de Battini did a similar but larger work in Argentina and kept the entire voice of the narrators without editing their speech, jargon, pronunciation or any of the words that came from languages like Quechua, Mapuche, Guaraní, etc., with extensive notes. There is still the separation of class between interviewer and source, but the focus to keep true and respectful to the source became more and more important.

I really hope this is interesting or at least helps understand the context of my tags!

#ask #long post #donttouchmyasymptote #fairy tales #can u tell i am preparing to teach an online course on fairy tales?#i hope i do well i always feel i don't know enough lol #side note: there were previous compilers of folk stories #like basile and sraparola #but the fairy tale as a genre had a boom in publishing #during this time

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recentanimenews · 4 years ago

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INTERVIEW: After 13 Years, Indie RPG Masterpiece Ruina is Finally Available in English

All screenshots of Ruina: Fairy Tale of the Forgotten Ruins taken by author

This article was made possible through the invaluable contributions of translators Dink and bool, and further aided by context generously provided by writer, translator, and RPG Maker scene dweller Kastel (@kastelwrites). Sections from their answers were excerpted for this piece and edited for clarity and content.

Last year, at the start of the pandemic, a lapsed member of the RPG Maker community known as Dink stumbled across a screenshot while trawling Japanese free game websites: a black obelisk standing in the midst of ruins. “This is going to make me sound like I've been huffing paint, but this image spoke to something quite visceral for me — like I'd been waiting to find this game. Something about the sepia tones, the light and shadows, the elegance of its very archetype. I knew I had to play it.” Dink had stumbled across Ruina: Haitou no Monogatari (Fairy Tale of the Forgotten Ruins), one of the most acclaimed free RPGs ever made in Japan. Released in the antiquated RPG Maker 2000 engine in 2008 by developer Shoukichi Karekusa, it retains a strong cult following and has even been translated into Chinese. Yet unlike its RPG Maker siblings Yume Nikki and Ib, Ruina is practically unknown in English-speaking countries. Dink decided to change that. “Once I realized that it had yet to be translated into English,” he said, “it was like I’d become possessed.”

Ruina is unique. A role-playing game that takes direct influence from tabletop games and gamebooks, it boldly defies conventions established by classic console role-playing games like Dragon Quest and Final Fantasy. Rather than controlling the main character across a top-down map, the player slowly uncovers a hand-illustrated map of nodes. Survival in the dungeon requires the use of ropes, pickaxes, and oil for your lantern, resources that are all expendable. Your party members are valuable not only for their combat skills but for their out-of-combat abilities: thieving, sneaking, even swimming. Most of all, Ruina allows for choice and consequence, a phenomenon far more common in western RPGs than Japanese RPGs. Say you stumble across treasure in a dungeon, but are ambushed by thieves who want the treasure for themselves. Do you give the treasure to the thieves? Stand your ground? Or attack the thieves before they can do the same to you? Since your ability to save in the dungeon is heavily rationed, you may find yourself having to choose between restarting a save or living with the messy outcomes of your choices.

There’s something to Ruina that grounds it in the Japanese RPG tradition, rather than a straightforward riff on Wizardry or Might & Magic. Those earlier games gave you several choices as to building your party, but little in the way of story or character. Ruina is a far more curated experience. On starting the game, you’re offered four “backgrounds” that align you with certain other characters, just one year before Dragon Age: Origins would pull a similar trick. Rather than being given the full freedom to explore a sprawling world, your options are limited to navigating a single, contained dungeon. The characters available to be recruited into your party have defined personalities and quirks — some are already good friends of yours, others are insufferable, and still others have significant flaws that speak to the kind of person they are versus their gameplay function. These are NPCs out of the Baldur’s Gate school, given the illusion of life, rather than the team of personalized murderers you’d recruit in an Etrian Odyssey game.

Very little else in the Japanese games scene is like Ruina. You could draw comparisons with games like Unlimited Saga and Scarlet Grace, representing the legacy of controversial SQUARE ENIX auteur Akitoshi Kawazu. You could similarly connect Ruina with Yasumi Matsuda’s experimental Crimson Shroud, which takes influence from tabletop to the point that it has the player rolling dice in-game. But Ruina is more accessible and polished than a Kawazu game, and far more fleshed out than Crimson Shroud. Even Etrian Odyssey, with its comparatively barebones story and characters, doesn’t quite compare. Ruina stands alone in the Japanese free games community, a legendary title that people respect but don’t fully understand how to replicate.

A few days ago I reached out to Kastel, an academic, writer, and translator who is very familiar with Japan’s RPG Maker scene, about where Ruina fit in Japan’s wider field of indie games. “I know many people in the furige (free game) scene who love the game to death,” they said. “But they also found it to be a hard sell due to its unique, almost western take on the scene. The fact that the game is even this popular speaks to something.” Despite its crunchy mechanics and niche inspirations, the game is popular enough to have spawned light novels, an honor not unique to it (other RPG Maker games have accomplished the same) but certainly significant. Kastel drew a comparison between Ruina and Darkest Dungeon, another weird and uncompromising game that draws from both Japanese and western RPGs. “Ruina is sorta different from everything, but you also see dungeon crawlers get inspired by it,” they said. “Not all games take direct inspiration, but you can’t help but see a little bit of Ruina here and there.”

So why did it take so long for anybody to translate Ruina? Dink isn’t the only person to try his hand at translating it into English; just last fall, another forum dweller placed an ad recruiting a translation team to tackle the game. The unfortunate reality is that translating text within the RPG Maker engine into English requires intensive and repetitive labor. “There’ve been tools developed by vgperson [a prominent translator of RPG Maker games] for RPG Maker 2000 and some other machine translation tools for newer games, but they all remain difficult to use for translators,” Kastel says. “The way games are scripted uses events inside the map and developers rarely name them. So not only do you need to edit it via the appropriate RPG Maker engine, but you also need to go through each event contextless unless the creator actually notes things down.” So, the enterprising Ruina translator doesn’t just need to translate all the text in the game into English. It isn’t even a question of whether or not to manually edit the game’s many pictures and custom menus into English by hand. It’s the sheer difficulty of navigating between thousands of (often poorly labeled) events and variables in the RPG Maker engine, ensuring not to introduce any new bugs or errors in the process, while also finding the time to do all of the above.

Dink was assisted by a friend of his named bool, who played through the game alongside the translation process and gave invaluable advice and fixes. “Uncovering the mystery in the game's story sort of ran parallel with the translation of the game itself,” bool says. “As the story progressed, the characters would decipher and learn more about the lore of the eponymous ruins within the game, and as the translation progressed, the same held true for us. It really captivated me to be a part of this process, and I started to look forward to each new area that I could explore and each new morsel of the story I could understand.”

Without bool’s efforts, it might have taken far longer to put together something workable. As it was, it took four exhausting months. “I worked long hours — 12+ hours a day, 6, sometimes 7 days a week on top of my day job — and very rarely used my free time on anything else,” Dink says. “I did manually input the text in RPG Maker 2000, which has raised some eyebrows because there are some very nice tools available for game translation that would have saved me a lot of time. However, a huge advantage of working directly in the editor is being able to see the game more or less as it appears to players. A Notepad file streamlines the basic translation process, but it also heavily obscures context, whereas the editor allows you to see what switches and variables are being used, what music is being played, and sometimes even helpful creator comments, all in the same relative order you'd experience it from within the game.” Dink had one more secret weapon up his sleeve: the experience of working with the RPG Maker engine as an adolescent. RPG Maker has a reputation of being a tool designed to churn out Dragon Quest clones with ease; but nobody knows the intense difficulty of forcing the engine to do something, anything, like a former RPG Maker developer does.

The English version of Ruina, as it currently exists, is a workable but inevitably compromised version of the game. Running the game requires installing the Japanese RTP pack of visual and audio resources for RPG Maker to function, along with the use of the EasyRPG player to provide English-language player name entry. There’s the matter of the custom menus, as well. Several of the menus have been replaced with functional English equivalents, but by Dink's own admission they could use an expert's attention to better compare to the original. Other pictures, such as place name displays, have yet to be replaced by English-language equivalents at all. And the strict character limits of RPG Maker 2000 led to some creative truncating when translating from Japanese to English, especially with item and skill descriptions.

But the existence of an English-language Ruina, one that renders the whole game playable from beginning to end with a readable script, is a miracle. Speaking for myself, I started the long process of learning Japanese two years ago in part so that I could one day play this game, never expecting there might one day be an alternative. Others in the Japanese RPG Maker scene, knowing the brutal difficulty of translating a game made in the earlier engines, were shocked that a game of Ruina’s complexity and length was successfully translated at all. Speaking for themselves, Dink and bool insist that their own story doesn’t matter much. What matters is the quality of the original game and the hard work developer Shoukichi Karekusa put into its creation. Anything else is an addendum, another version of the game that — while it cannot ever be the original — might at least make something resembling that original experience accessible to others.

Frankly speaking, I think there’s something to that. The “true” version of Ruina will always exist in its original form, released for free by Karekusa in 2008. It stands as the defining work of a creator who sought to create a unique experience combining the appeal of console and tabletop roleplaying games, with no concessions to market sensibilities. A creator who not only released their baby on the internet for free, but insisted that a game like Ruina must always and ever be free. An austere monolith, it stands side by side with Yume Nikki, Ib, and even Cave Story as one of the great works to come out of Japan’s independent scene. Now any English speaker can pick up and play this new version of Ruina, and learn what that monolith is and where it leads to.

You can download the English translation of Ruina here. For those who want to learn more about the Japanese RPG Maker scene, I recommend checking out Kastel’s page here.

Are you a Ruina fan? Let us know in the comments!

Adam W is a Features Writer at Crunchyroll. When he is not working through exercises in Wanikani, he sporadically contributes with a loose group of friends to a blog called Isn't it Electrifying? You can find him on Twitter at:@wendeego

Do you love writing? Do you love anime? If you have an idea for a feature, pitch it to Crunchyroll Features!

By: Adam Wescott

#Anime #News #Latest in Anime News by Crunchyroll!

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shannarous · 4 years ago

Text

Eren has given up trying

Chapter 133 left me wondering again why Eren brought himself in this situation although he’s hurting so much because of it. It’s clear now that he wants to die by the hands of those he loves and cares for the most, but why exactly does he want that? Why did he let it come to this, knowing damn well what it would do to him, to his loved ones, and the world? Sure, his character is all about freedom and the Eldian people of Paradis, who he wants to live long and happy lives without there being a constant threat of being wiped out by people who call them the devil’s offspring. But there were other ways to achieve this goal and he had more than enough chances to change his plans, yet he didn’t - despite knowing the dreadful future that was to come along with it. So what makes him choose a path that he knows will bring death and pain to many people, even some he cares about, and also to himself?

I think he fell victim to the knowledge of his future. It has bound him to choices he deep down didn’t want to make, because he saw his future, and he thought it was set in stone. He didn’t even consider other possibilities, because what for? It would all end the way he had seen in his future memories anyway and there’s nothing he could do about it, so he didn’t.

You all probably know Eren’s Japanese voice actor, Kaji Yūki. And if you’ve ever seen him on live events or TV shows, you’ll also know that he’s, apart from being a stunningly talented seiyū and a cinnamon roll, a lot like Eren in real life - minus the trauma, genocide or suicidal tendencies, of course. He even said so himself on several occasions and there are a lot of interviews where you can see how much he feels for Eren and how it gets to him when something bad happens to the character (so like... all the time).

Now, as a seiyū it’s obvious that he has some knowledge about the story that we fans don’t have. At this point, he already knows how it all ends, considering the fact that the last anime season of SnK has probably finished dubbing for some time now, and it‘s also common for seiyū to get told about the future of their characters long beforehand. What I’m trying to say is: Kaji-kun knows how SnK is going to end by now, and he’s possibly known Eren’s fate for a long time. So I got curious when I saw him in a video of a 2019 live event with seiyū of another anime, holding a passionate speech on how he feels about knowing his future.

youtube

Go to 2:06 minutes for his “speech”.

The seiyū were asked to choose if they would rather meet their past self or know their future self. While the other seiyū were indecisive during the whole game and even switched sides several times, Kaji-kun was the only one who stood and stayed decidedly on the “past” side, and didn’t change his mind even when he was left all alone on that side.

When asked why, he states that, if you know your future, you stop trying. If you know you’re going to be successful, you may stop giving it your best now, because you’re going to make it anyway, right? And it works the other way around, too. Why even bother trying if the future only holds failure no matter what you do?

Now, this event happened in July 2019, so Kaji-kun probably hadn’t voiced the last season yet at that time. Moreover, he says he has thought about this countless times, meaning it’s nothing new to him and even if he already knew about Eren’s fate back then, doesn’t mean that SnK is what inspired his ideas. However I still get the feeling that SnK and Eren specifically were part of it, if just a small one. He also follows the manga, so that’s likely playing a role, too.

That being said, Kaji-kun’s words are meaningful, even if they might not have anything to do with Eren at all. I think Eren gave up trying the moment he saw his future (way back when he kissed Historia’s hand). When he asked Mikasa what he is to her, he wanted her answer to be unexpected. He wanted it to be different from what he knew it would be, and so it was his last hope of changing the future he saw after all, his last attempt at trying. It failed though, so he went along with his fate, knowing where it would end.

And now all he wants is for his friends to end it all. They don’t know their future, so they haven’t given up on trying yet. There won’t be a happy end, but maybe the future can be changed after all.

#snk #shingeki no kyojin #aot #attack on titan #eren jaeger #kaji yuki #snk 133

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thexfridax · 4 years ago

Photo

Translated interview

Love and let love

Pamela Jahn, in: ray Filmmagazin, October 2019

// Additions or clarifications for translating purposes are denoted as [T: …]. //

Céline Sciamma’s brilliant ‘Portrait of a Lady on Fire’ opens the Viennale 2019. A talk with the French director about her ambitions, love and why you can do without men in her film.

She likes to think of herself as film activist [T: also see here], and looking at her work confirms this. Céline Sciamma is a force in French cinema, but this hasn’t yet created a ripple effect internationally. After her coming-of-age trilogy (Water Lilies, Tomboy, Girlhood), the French director and screenwriter Céline Sciamma now created an elegant but also radical period film with Portrait of a Lady on Fire. [T: Partly omitted short description of film] The two women slowly get closer to each other, determination turns into restraint, curiosity into desire, and Sciamma’s great skill is in making the intimacy between the characters tangible in a very sensual manner. Her brilliance and experience in utilising the cinematic art of seduction of all kinds make this film special, and it opens up a new perspective on the art of looking and thinking.

Interviewer: Part of the fascination for this film is in the process of discovery, the way that we, the audience, slowly get to know the face, the body, and the gestures of Héloïse. How did you develop this process from your perspective as screenwriter and director?

Céline Sciamma: First of all, it took a long time to write this. I don’t actually mean the writing itself but rather dreaming about it. The idea for the film came right after Girlhood, about five years ago. But then I allowed myself to just daydream about it for two, three years, without writing anything down, apart from a couple of notes, a page here and there, where I tried to find the right balance between the different approaches that I had in mind for the film. On the one hand, there was the idea that you implied, developing a choreography of discovery to show how someone falls in love with another person, and at the same time accurately convey this process through cinema with all its possibilities, step by step. In other words, I was interested in the joy of discovery, but also in the delay and frustrations that might occur with this. On the other hand, I also wanted to show the progression of a love story, its past, its future, this epic period of time where everything seems possible. I wanted to make a film about the dialogue of love, about its philosophy and poetry. And this takes time, to find the necessary balance, but also to steer the film in a direction that seems radical enough to me. It was important for me to find the right structure, in order to both integrate the dialogue of love and dialogue of art. That was my task, my personal mission. I had the ambition to convey all these ideas without becoming too theoretical. The film should seem playful instead, be exciting and fun – fun while filming and watching.

I: Were you inspired by certain paintings for the aesthetics of the film?

CS: My cinematographer and I, we discussed the lighting and the framing for a long time, and at one point [T: she] said: ‘Okay, let’s do this, we won’t consciously set it up like a painting, but secretly we both know it’s exactly like that.’ This means we didn’t tell ourselves that the whole thing should look exactly like a painting by Georges de La Tour or whoever [T: also see here, a pipe and a candle, hmm]. Quite the opposite. Our references came primarily from cinema, especially when it was about lighting a film with candles. But we were of course aware that everyone would say afterwards that it looks like it was painted. Cinema is about similar things after all: It is about lighting, composition, faces and silhouettes. There were no real references to paintings apart from one, but it was rather anachronistic, because it wasn’t from the same period as the film was set in. However, we always had to think about [Jean-Baptiste-Camille] Corot, a French painter from the 19th century, who mostly painted landscapes. But he also did a few paintings of women, women in landscapes. And we were quite thrilled about the way that the light seems to radiate from the figures in his pictures [T: also see here]. The figures somehow illuminate the painting, and we worked hard to create a similar effect with the colours and the clothes of the characters. [T: Also see here for an in-depth article on the cinematography of the film]

I: What were your film references?

CS: Barry Lyndon had certainly the biggest influence, not only on me, but on cinema in general, when it comes to lighting a period film. It doesn’t mean that we should do exactly the same as Kubrick did. Barry Lyndon is a film with an incredible amount of ideas, which make you think, and it’s a film that gives you more courage in what you do. That means, instead of duplicating something it’s rather about developing a standard, which you don’t have to necessarily adopt, but you can work towards it. And for that we developed our own methods to create a certain mood and aesthetics. Just like Kubrick who invented a lot for his film. He even came up with his own lens, so that he can produce the atmosphere he wanted. We made things and thought about finding a way to manage without candles in the picture, which was decided very early on. [T: also see here, here or here for Barry Lyndon]

I: The setting plays an important role in both films, Kubrick’s and yours. It develops its own character, in a way.

CS: That’s true. The building where we filmed had an unbeatable advantage: It hadn’t really been touched for years. It’s an old suburban city hall in the municipality of La Chapelle-Gauthier, about 70 km from Paris [T: also see here, h/t @podcastofaladyonfire]. When we found it, [T: we] weren’t quite sure. It seemed like a place from another time. But as soon as we stepped into it, we knew how it was. We also knew that everything should remain as it was. That’s not very common, because it’s usually about reconstructing the period in a period film, in which the story is set, so that you achieve the highest possible degree of authenticity and truthfulness. Apart from that, I mostly made all of my films in the studio. The apartments, where my protagonists lived, were all recreated. And now I suddenly had to struggle with a fourth wall. It would have made more sense not to film on an original location. It’s a paradox, but I really like it.

I: You made another conscious decision, which was mostly excluding men from your film.

CS: Yes, that was already clear from the outset. It wasn’t like I only killed the men in the cutting room. The main reason for this was that I wanted to tell a love story that is lived. And I wanted to talk about the possibility of their love, not about the impossibility. If I had included men, then it wouldn’t have worked, because the limits of what is possible would have been all too visible. We are very familiar with these limitations and I think, we don’t have to constantly talk about them. I wanted to give these women the necessary space to express themselves and fully live out their love. In other words: I wanted to give them time to imagine what their lives could look like in a world where they don’t have to constantly assert themselves against men.

I: Especially against men that try to interfere with their love.

CS: Exactly. I consciously avoided this conflict. I also didn’t want the two of them to question whether their love story is really possible or not. But that is a question of dramaturgy, not of gender. For me, it was about telling the story in a way that gives them the greatest possible liberty, but which they don’t have in reality. This is not only an imagined liberty but a very tangible one. Fundamentally, it is just another way to point out the limitations that clearly exist for both women. It’s just that we don’t show [T: these limitations], because they are quite obvious. I had the feeling that both women couldn’t imagine another life. Why should I put them in a situation where they fight a battle they cannot win anyway?

I: It seems that going back to the 18th century gave you more liberty to tell the story.

CS: Yes, it really was a liberating process for me, too. A process that made me more courageous as director. Even though, my films were always strongly anchored in the presence, and were in that sense bold, because they were politically motivated. This time I wanted to go a step further, not least because it’s about a female artist at work. The film was meant to playfully deal with the theme, so that you also see my own love for cinema. This is why it seems so intimate at times. Not because I tell my personal story, but because I keep my work less under wraps, treat it less like a secret but reveal it more as a gift.

I: It’s interesting that you not only excluded men but also didn’t include music so much.

CS: That was also a choice that I made in the beginning, or rather had to, because it meant that I had to write the script with this [T: exclusion] in mind. It doesn’t mean that a film without music cannot be musical as well. But you write differently. And it means that you have to show a strong sense of rhythm on set. That wasn’t a problem for me, because I’m anyway obsessed with rhythm. Deciding against music wasn’t meant to be for the challenge, but I wanted to put the audience into a state, where art is also inaccessible to them. So that listening to music will also become precious. The film is about the relationship between art and love, and how important art is for our lives. Listening is therefore meant to become an organic experience. For me, it was about showing that you can reclaim cinema with the power of music [T: also listen to this or this… I have no regrets 😁]. If you really think about it: The piece by Vivaldi, which is in the film, is a hymn, but it’s also typical music when you’re put on hold. It was really exciting to create an atmosphere where you rediscover this piece, which you heard so many times, and in a completely different context and with a new image in mind [T: the most heartbreaking scene ever, here goes Vivaldi, also see here].

I: The last scene of the film is breathtaking. But I can also imagine that it was a huge effort for you as well as for Adèle Haenel to hold this shot for such a long time.

CS: To be honest, that was the most important and most difficult shot that I ever filmed. And with difficult I also mean technically, because you have to ensure that the focus is retained. The poor guy, who had to take care of that, was in a cold sweat during the entire take. It’s not Hollywood after all. This means, he had to sit on a small chair, which was attached to a self-made vehicle that a couple of other men had to slowly move across the room towards Adèle. Everything was extremely improvised. But that’s what cinema is also about: technique. You create something with whatever you have at your disposal, so that there is this brief magical moment on screen, which moves people.

I: Did you also know from the beginning that you wanted to conclude the film with this shot?

CS: Yes, it was the first image that I had in mind, when I started writing. It is one of those images that push you forward, when the doubts overwhelm you. And believe me, I gave up on this film more than once [T: 😱 😌]. But I always knew that if [T: the film came to life], then it should end like this. For me, this image represents a mix of joie de vivre and ancient dream [T: the text says ‘pures Leben’ or pure life, which has more of a positive connotation in German]. I can’t describe it any better. Perhaps it is the last secret that still remains for me.

—

Picture source: [1 / Julien Lienard/Contour by Getty Images]

#ray Filmmagazin #Céline Sciamma #Portrait of a Lady on Fire #October 2019 #Austrian interview #IDK this interview warmed my heart #The relationship between art cinema and music #DIY approach to film #Her ideas and their execution #That last scene #That last secret...#Thank you for your gift Céline #My translation #long post

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purplesurveys · 4 years ago

Text

1161

survey by pichu4850

What color do you think of when I say...

Anger? Red, or a really bright red-orange.

Confusion? Gray.

Inspiration? Sky blue. Both word and color give off calming vibes to me.

Shy? Something like an off-white shade, and maybe even pastel pink.

Agony? Olive green was the first color to come to mind, though I have no idea why.

Sleep? Dark blue, like the night sky.

Chipper? Yellow.

Beautiful? Red, the way roses are.

Morning? Light blue or yellow.

Would you rather be named...

Andrea or Aimee? Andrea.

Emily or Erica? Emily. I know an Erycka that I’m not too fond of, so this is an easy pass.

Kelsey or Casey? Casey, though I’d mix up my name a bit and have it be pronounced and spelled as Cassie.

Madeleine or Marina? Eh, not really a fan of either but I’d mos likely go for Madeleine.

Alec or Aaron? Alec.

Ryan or Ross? Not a fan of both names as well though I’d probably go with Ryan, but only as a feminine name.

Dylan or Daniel? Dylan.

Jack or Jordan? I guess Jack, if I have to pick.

Gabriel or Gavin? Gabriel.

How often do you...

Brush your teeth? Once or twice a day.

Eat breakfast? Twice a week, during weekends; though sometimes I’ll end up skipping it for an entire week altogether.

Check your email? I literally never check my personal email anymore after having gotten hired, but I know I should quit that habit and check it every once in a while just in case an intriguing opportunity might come my way. My work email is a different story; I have to use it everyday. I open my emails even during weekends so that when I report to my shift on Monday, my Gmail won’t look as clogged.

Go to the mall? When quarantine protocols loosened up a bit I used to go either on Saturdays or Sundays for some me time as well as some much-needed time away from the house, for the sake of my mental health and sanity. But now that we’re going through another surge in cases, no one’s allowed to go out again and malls are back to just keeping the essential stores open.

Go to the beach? A few times a year, at least before the pandemic. I haven’t been to the beach since 2019.

Play card games? Only happens once in a blue moon, when I get together with friends and someone happens to bring a deck of cards. This isn’t a usual occurrence with any of my friend groups, though.

Have at least 20 minute phone calls? Never. I have 20-minute Google Meet and Zoom calls instead.

Paint your nails? They are never painted.

Wish you were happier? Every now and then.

Did you ever want to be...

A veterinarian? Yes, when I was younger. I once stumbled upon an interview with a horse vet on one of my kid’s almanacs and thought what they did was so cool.

An astronaut? Yup, definitely became a big obsession of mine at one point in my childhood. I still think it would be cool to go to outer space and should the opportunity ever become accessible in my lifetime, I wouldn’t want to miss out on it.

An artist? Not really. I knew from the get go I wasn’t meant to be one.

A school teacher? I would guess yes, but I definitely wasn’t as interested in teaching compared to being an astronaut or like a firefighter.

A housewife? Lmfao yeah. This was the answer I would give when I was like 8 up until I was probably 10 and I knew it stressed out my Asian mother big time. My grandpa got a kick out of it, though.

A firefighter? Yes. This was up there with astronaut.

A princess? Not so much.

A lawyer? I definitely considered law for a brief period, but it was already during my latter college years. There wasn’t enough time to mull over it. But hearing all the law school horror stories from my friends kind of made me relieved I didn’t push through with it; I knew I wasn’t passionate enough about law to want to go through all the hardships that come with law school, so I was fine letting that dream go, and still am.

A doctor? This was never a dream of mine.

Would you consider yourself...

Materialistic? Yes.

Pessimistic? It comes out occasionally, but I don’t think it’s a main trait of mine that people would generally see me as.

Avoidant? Not so much. I can be shy and anxious sometimes but I get over it at some point.

Sarcastic? Only occasionally. I wouldn’t say I speak the language.

Talkative? Definitely not. I hate being in the spotlight, and whenever it’s my turn to share a story or talk in a group I usually have the tendency to rush through it or make it as short as possible so as to return the spotlight on someone else. I’ve always been more of a listener.

Strange? Maybe not strange but weird to an extent?

Intelligent? I guess in some ways.

Lucky? In some ways I am, but I also got handed the short end of the stick in other contexts.

In the next twenty-four hours, will you...

Talk to someone you care about? Probably. I talk to at least one friend a day.

Go to work? Yep, I’ll finally be going back to work since the Holy Week break is over. My workaholic self felt kinda unsettled with all the free time, so I’m actually kinda relieved.

Go to school? I’m not in school anymore.

Be in a different city? Nope, it’ll be working from home for me like usual. We were initially allowed to book visits to the office if we really needed to go there to pack some goodies and stuff, but because of re-heightened Covid protocols our admin has once again prohibited anyone to go there for the meantime.

Read a book? I highly doubt it. I haven’t read any in months.

Watch a movie? Nope. It’ll be a Monday coming from a 4-day break, so it will be incredibly busy tomorrow as there would be a lot to catch up on.

Go to a dentist/orthodontist appointment? No, I won’t.

Do your laundry? My parents probably will seeing as our hamper was nearly full the last time I checked.

True or False: Family...

I have two brothers or more. I only have one brother.

My mom lives with me. This is technically true but isn’t phrased right in my case. I’m currently living with my parents.

My grandparent(s) live with me. No, we moved out of our duplex (where I did use to live with my grandparents) well over a decade ago.

I have half-siblings. Don’t have any.

I am the oldest in my family. Eldest child, that is.

I am an only child. I have two other siblings.

I have 15 cousins I can name off the top of my head. Easily. My first cousins are less than 15 in total, but I know a good number of my second and third cousins as well so this is a cakewalk.

The nearest Aunt or Uncle lives less than an hour away from me. The aforementioned duplex we moved out of is just at the next village; we didn’t move too far so that we can continue visiting them.

True or False: Food...

I am allergic to chocolate. I’m not, fortunately. I’m not crazy about chocolate but I’d be pretty miserable if I could never have it either.

I like vegetables more than fruit. Infinitely more, hahaha. I hate fruits.

I have tried pizza dipped in ranch sauce. Ranch isn’t a very common dressing where I’m from, so it’s not usually offered in restaurants. Given the chance, though, I’d definitely try my pizza with ranch at least once.

I've never eaten kiwi fruit. True, but then again I’ve never eaten most fruits and don’t plan to.

I love junk food.

I love to try new food.

Ketchup goes best with fries (chips). I don’t like ketchup and barely put it on anything.

I like fried rice. I haven’t met an Asian who doesn’t like fried rice.

I can prepare dinner for myself (using a stove or oven).

I hate sushi.

How many...

Pairs of shoes do you have? A little over 10, maybe? I don’t feel like counting in my head rn.

Songs do you have on your music player? I don’t have a music player anymore.

Hours of sleep did you get last night? Around 4.

Times have you had alcohol? Like, ever since I started drinking when I was 18? I never kept track lmao but if I would guess, maybe around 50-60 times? I’m not a regular drinker; I drink probably once or twice a month at most.

Books have you read/started reading in the past month? None.

Windows in your house/apartment are open? I know my parents and sister have their windows open at the moment, so that’s 2. Mine are usually open as well, but I’ve turned on my aircon so I’ve closed them for the night.

Pets do you have? 2.

Kids do you have/want to have? I’d cut it off a a maximum of 3 kids, but having just 1 would already be so nice.

Minutes does it take to get from your home to school or work? I work from home, but in the two times I went to the actual office it took anywhere between 45 minutes to an hour.

Have you ever...

Spilled a cup of grape juice on the carpet? I don’t think I’ve ever even encountered grape juice in my entire life.

Played spin the bottle? I don’t think I’ve ever played this. My friends and I usually resort to truth or dare.

Played Twister? Yes, and there are many fond memories that come with it as well. So when I was 7 years old I befriended Katreen, and her mom and mine hit it off instantly so they started this arrangement where every Friday, her mom picked me and my sister up from school along with Katreen and her sisters, and we’d stay for several hours at their place until my mom would pick us up. Her mom was an amazing host and every week we’d play Twister, watch Pokemon, read books together, etc; anything to keep us comfortable and entertained.

Been caught doing something you weren't supposed to be doing? It’s bound to happen every now and then.

Walked out of a movie because it was horrible? I’ve gotten this feeling a few times but I always stayed in my seat because I paid for the damn ticket.

Given the finger to someone on the street? Oh most definitely, as well as drivers passing by. And it’s always been towards men that are being disgusting pigs.

Been so sad/angry that you started laughing? Sure.

Been in a wedding? Yes, but I only got invited as a kid since I was usually picked to be one of the flower girls. I haven’t been to a family wedding since 2007.

Been in a situation where you almost died? Probably not died but almost substantially injured, sure.

Misc...

Are you stressing out about anything right now? Just worried about the deluge of tasks that will inevitably come at me tomorrow but knowing how easygoing my bosses are, I know I’ll be able to ease up soon enough.

Do you think before acting or act before thinking? I used to be the latter but I now see the importance of first considering possible consequences of or how others would be affected by my actions.

Do you act upon your emotions and instinct, or logic and reasoning? Again, I used to be one of these, this time the former. Now that I’m at a much more stable and peaceful place in my life I try not to let my emotions get the best of me.

What are some personality traits you find appealing in a potential partner? I had a number of negative experiences in my last relationship so forgive me for scraping the bottom of the barrel when it comes to my expectations lmaaaao – I’d love for someone to be sensitive to my needs and feelings, and for them to be able to own up to their mistakes or hurtful habits and know how to apologize and be open to changing if it’s for their self-improvement.

How have you changed as a person in the last 5 years? I tolerate less bullshit now. I think I’ve also grown to be happier and a lot more stable, emotionally. I also have a better sense of what I want out of life and where I want to be, and I’ve also learned to be more sociable and open up to people.

If you could do anything you wanted right this moment, what would it be? Order sushi :(

Is there anyone you can totally relax and be yourself around? Yes, that’s what my friends are for. If I can’t feel comfortable around my friends, I’d view that as a problem.

Did you ever wanted to say something to someone, didn't, and regretted it? No.

Are you scared about the future? I’m scared of the idea of not meeting some of my goals, like having a family; but I’m also excited about what the future could bring me.

#survey #surveys

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isaacthedruid · 4 years ago

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Steven Universe’s Representation and Music: an informal essay

As the first animated Cartoon Network show created entirely by a woman, Steven Universe’s run lasted for five seasons, a movie and a sequel-epilogue series. The show was far from perfect and its fandom wasn’t the best either but there is something so special about a show that followed lesbian space rocks and a young boy saving the world.

More specifically Steven Universe is about a young boy named Steven, who is half-Gem, half-human who protects the town of Beach City from evil. Gems are a kind of alien who take on the form of pastel-coloured women, to better assimilate with the rest of the world.

Rebecca Sugar, the creator, explains her colourful characters in a behind-the-scenes promo:

“I always dreamed of making a show that would have this mix of fantasy and reality. So, I wanted to make these fantasy characters that enjoy being with Steven as much, if not more than they enjoy being fantasy characters. The characters aren’t perfect and that’s what makes them so great.”

Steven’s family are known as the Crystal Gems, a group of rebels who fought against their government thousands of years ago and now live on earth. Steven’s mom, Rose Quartz was at the forefront of the fight, she did extremely terrible things and when she gave up her gem—-so Steven could be born—-she was left unable to form a body ever again. Steven, with only his dad and three alien women, must attempt to fix her messes and deal with the repercussions of his mother’s actions.

One of the main mechanics within the series is known as fusion, in which two or more Gems become a single being who is stronger and more powerful. The fused form takes on the physical, mental and emotional aspects of those who are part of the bond. As mentioned and discussed many times within this blog, fusions are a physical embodiment of different kinds of relationships. And for a show starring a primarily female cast, they do not shy away from using this mechanic to tell queer stories.

So explicitly that in 2018, the show had the first-ever lesbian wedding in a cartoon. Of course, representation wasn’t always as accepted in Steven Universe. Just two years before the big wedding, higher-ups at Cartoon Network told Rebecca Sugar, they not happy with the multiple queer relationships, so much so that they were ready to threaten cancellation.

In an interview with Entertainment Weekly, she expressed:

“If this is going to cost me my show that’s fine because this is a huge injustice and I need to be able to represent myself and my team through this show and anything less would be unfair to my audience.”

Being LGBT herself, identifying as bisexual and non-binary, representation is important to her. For many queer people, especially grown-ups, they hope to see themselves represented in kids’ media today as they never had growing up. They want nothing more for children’s shows to say that being “different” or not fitting in with our heteronormative society is actually normal.

Within Steven Universe, you can find woman-loving-woman relationships, non-binary and intersex characters, woman-loving-non-binary relationships, asexual coded characters and basically every other letter in the acronym.

Rebecca Sugar even acted as the exciting force for LGBT inclusion within Adventure Time, originally working as a writer and storyboard artist before leaving to create her own show. She pushed for making the ex-romantic queer couple to be canonically part of the story and for it to not just coded into the dialogue.

A few years later, she returned to the show, multiple times, to compose over 20 songs that would air over the series 10-year-long run such as, “I’m Just Your Problem” which had lesbian subtext that would be confirmed later.

Some other iconic songs including “Fry Song“, “Remember You“, “Good Little Girl“, “Everything Stays” and even the finale song, “Time Adventure“.

Much like the show as a whole, there is something so special about the music she writes. In total, there were over 160 songs written for the franchise, some being short little tunes, no longer than a minute while others were full-blown musical numbers. No matter, all of them have their place within the show. Often when the character can’t express lines through speech, music is utilized to provide a more raw and poignant portrayal of their emotions.

Why Steven Universe is so widely loved is due to the music, as the overall story is not even close to perfect. Yet, everyone can agree on one thing, the music is unbelievably good. What is interesting is the different styles of melodies and backtracking used in the various songs, even more impressive is that every character has their own instrumental motif.

Steven’s motif is the ukelele as he is often seen playing the instrument himself, performing short little melodies and even writing the in-show version of the theme song. Additionally, Steven’s music uses a large amount of Chiptune synth, electronic music which is created using a programmable sound generator. Both instruments have a very childlike feeling to them, Chiptune especially as it is normally used in video game music like The Legend of Zelda: Ocarina of Time, one of the main musical inspirations for the show. As Steven is the lead, most of the music has Chiptune somewhere in the score and fun fact, the first song in the show, sung by Steven, “Cookie Cat” was actually written on an old Gameboy.

Amethyst is very loud and fun, her motif is electric drums which is extremely reflective of her character. As she can be angry from convincing herself that she is not good enough to happy and giggling from pranking Steven, her instrument can be used in so many ways as she is not a simple character. No matter what, for the few songs Amethyst has on her own (or in the score), her drums provide such an interesting emotional response to the situation.

Garnet is a fusion, so her motif is actually the combination of two instruments. Ruby is a drumbeat as she is a fiery and loud character, she is chaotic while Sapphire is her opposite. Sapphire is calm and collected, she has ice-related powers and is represented by Synth music. The characters together have a perfect unity, expressed by Garnet’s synth bass sounds, she is the equilibrium of two very contrasting characters. The music associated with Garnet, uses primarily the synth bass but Ruby and Sapphire’s individual instruments can be heard throughout her music. All three instruments are also heavily representative as Garnet’s main dancing style is Hip Hop which clashing with others’ softer dancing styles.

Despite, not being alive during the show, Rose Quartz still has her own musical motif as she plays a large part in Steven’s growth throughout the series. As well as being in many flashbacks, she is represented with strings, more specifically, the violin. Rose’s story is rather sad which quite is visible within her associated music, yet, she was also an extremely powerful character as she led the fight against the Homeworld government. Her strength can be heard with strong uplifts and swells in the music. She is never seen playing an instrument unlike the rest of the main characters but one person who plays hers is Pearl, a character Rose was possibly in love with.

For the complex and beautiful character, Pearl, her motif is classical and swing piano. She is visually represented as a ballerina for a large majority of the series, dressed in a leotard, a small skirt and ballet shoes. Apart from Garnet, she is one of the calmest characters in the show. She is a perfectionist and is knowledgeable on many topics. She has a dark past and her fair share of trauma, all of this is wrapped up in her music. From her traumatic past with Rose Quartz, the violin had been heard throughout her music, yet, when she finally dealt with everything, the violin was lost. Swapped out for a new instrument, a bass guitar which she learned how to play at the end of the series. Pearl is a character who has been through a lot and her music reflects it. As she grew, her music changed with her, becoming her own instead of something built off of Rose’s.

My personal favourite song is “It’s Over Isn’t It?” which is this heartwrenching and emotionally painful ballad sung by a broken woman. Pearl was in love with Steven’s mom. Yet, the feelings were not mutual or at least ended being reciprocated as Rose left her for Greg, Steven’s dad. It hurts because Rose didn’t just leave her, Rose Quartz also passed away. As the song goes:

That they didn’t really matter until you I was fine when you came And we fought like it was all some silly game Over her, who she’d choose After all those years, I never thought I’d lose … You won and she chose you and she loved you and she’s gone It’s over, isn’t it? Why can’t I move on? … Who am I now in this world without her? Petty and dull with the nerve to doubt her What does it matter? It’s already done Now I’ve got to be there for her son

Without Rose, Pearl has lost her place in the world as all she ever knew was her. Yet, now she is left to help raise a half-human baby and go on with her life. It makes it more difficult as this baby is the product of Rose and the man that she left Pearl for.

Pearl doesn’t want to hate Greg, she is angry at him but she doesn’t have hatred towards him. They may not be the best of pals at the start of the series but in the song called “Both of You“ has Steven, finally, begging for Greg and Pearl to just talk to each other.

Why don’t you talk to each other? Why don’t you talk to each other? Just give it a try Why don’t you talk about what happened? … You might not believe it but you got a lot in common, you really do You both love me and I love both of you … I know you both need it Someone who knows what you’re going through

An interesting thing about this song is that Steven is this to them, the person with Rose’s gem is singing to the two people who fought over Rose. It makes me wonder if this could be Rose speaking through Steven to her two loved ones. Whether it is or not, doesn’t really matter to the overall story but it is a fun idea to look at.

Overall, these songs are a literal representation of dealing with ones’ emotions in a healthy way, something that Steven Universe actively tries to teach their younger viewers about.

To say Steven Universe is a good show only for its music would be a false statement, it’s one of the strongest aspects but without the story or the characters, the music would fall flat and not have any of its passion.

#isaac rambles #steven universe #lgbt #steven universe music #cartoons #cartoon network #rebecca sugar #cartoon review

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theasteriae-arc · 4 years ago

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THE INTERVIEW.

( or, when sebastian met katherine. the discord thread between @epiitaphs & myself, feat. our muses squabbling over @diabolicaltendencies’ jim )

WHITEHALL, c. 2009.

Her heels make an impressive racket on the tiles, the sound of her footsteps echoing in the corridor like there’s an army of interrogators on their way to sink their teeth into him. Sebastian Moran. The slick haired, sharp tongued politician she had never liked—not even before she’d found out Jim was screwing him. It was just a shame that the thick carpet in his secretary’s office—in his office—muffled the quick ratatat of those stilettos. Her war cry. “No. Excuse me, madam, you can’t- Have you got an appointment? You can’t go in there without an appointment.” Kate ignored her and opened the door to Sebastian’s office. “My name is Katherine Conway,” she said crisply to the man behind the desk. “You’ll want to see me.” And without waiting to be invited, she took a seat across from him, putting her handbag down, and folding her hands expectantly in her lap.

Sebastian is, as always, busy. Everything's manageable at the moment - neither the country nor the party are falling into the abyss, but that doesn’t mean that he's got time to rest. There’s people and policy to keep up to date on, and he can't afford to ever fall behind. Which is why he makes sure to keep a couple steps ahead of where everyone’s supposed to be. It's what got him through school and through the first years of his job. It's also what keeps him at the office late, though that's decreased over time now that Jim's around. Much more appealing to be able to come home to someone and not just the cats. There was a commotion outside, Sebastian looking up from his work just as the door opened. “An interesting opening statement, Katherine Conway,” he replied. The name seemed familiar but not enough to be someone he kept active tabs on. “Will I?” It seemed very much like he would, given that she had clearly decided to make herself home. A nod at the secretary in the doorway and the door was shut. “In that case, I suppose I'd like to know just what it is that you think is so important to require an urgent, unscheduled meeting. My time is valuable and I have later meetings, so brief is best.”

“Cancel them. I’m here to talk about James, and knowing him, that could well take all night.”

And wouldn’t he just love that? There was a bitter twist to her lips as she continued, “He called me last weekend, told me about the two of you. How serious would you say it was?” He had a pot of pens on his desk, sleek and black with shiny gold hooks so that he could slip one into his pocket without fear of it falling out. She reached forward to take one, testing its weight in her hand, twirling it in between her fingers. “Serious enough for him to call, I suppose. But not serious enough for him to have told you everything, am I right? Didn’t want you to run a background check on him?” Her free hand disappeared into her pocket and came out with a card. Katherine Conway, Named Partner at Conway O’Kelly, an all-female chambers in Dublin. There had been a glint of recognition in his eyes when he’d repeated her name back to her and she was sure this was why; he knew of her work, not her history with his boyfriend. She’d enjoy telling him then. “Well, let me clear up some of the confusion. I used to be his girlfriend. And he wants to introduce you to the daughter we share. So, I wanted to meet you first, to make sure I was happy with that. Politicians, you know, they’re not the most trustworthy people.”

“James, you say? That sounds rather serious.” He made no move to cancel the meetings. He was fairly certain the first one could go on without him, though he’d miss out. But they'd cross that bridge if they came to it. If this was about Jim, he'd rather hear what she had to say, but he didn't intend to be pushed into any particular action. Jim had called her? What could he possibly be up to? “Quite serious, I’d say. I assume you read the news.” If she wanted details, she could refer to that. He watched as she took a pen, wondering just what her intentions where, what her connections to Jim might be. Sebastian didn't indicate an answer one way or another to the first question. “He’s told me more than enough and I have respected his privacy when asked to do so.” Jim’s privacy. Not that of others, but that wasn't something he was going to admit to. Not when she'd given him one small fact - that Jim had called. Fact 2: Sebastian hadn't known. Fact 3: Sebastian didn't know everything.

She pulled out her card - as if that would give him much more information. It’d give him information that he could find, which was exactly what this meeting was not about. This meeting was about gaps in knowledge and Sebastian hated being on the wrong side of that. She was more than simply her job and title - if she knew Jim, that is. “Thank you for the clarification. It's much appreciated.” The thin smile on his face suggested otherwise. That she was the mother was a surprise, but she didn't have to know that. “I’d be happy to meet his child, should I pass inspection.” That information hadn't been as much from Jim. “Some might say the same for your profession. I’d know - did you look into me at all?” He really hoped so, or he'd be sincerely disappointed. She'd shown initiative so far and it'd be unfortunate if that ended up being a false lead. Time for a little bit more of a gamble. “He did mention you, by the way. As a detail. Youthful mistakes, you know.”

Nothing about her expression, her demeanour, changed. She didn’t miss a breath or move a muscle. Not quite relaxed, because from her posture it was clear that she meant business, but authoritative. Refusing to be riled. Did you look into me at all? Ha. She wanted to scoff—the Dubliner in her who’d grown up in the wrong part of the city wanted to spit—but she didn’t. Instead, she smiled. “Of course. Sebastian Moran, graduated top of his class from Magdalen College, Oxford. Fast tracked into politics, no doubt helped by his Daddy, who’s the Labour Whip in the House of Lords. Sebastian Moran who dislocated his shoulder climbing up the drainpipe of his family home during a scrap with a sibling.” The information about Oxford and his father, she could have got from anywhere. The more personal details, though, they’re not such common knowledge. She could feel his eyes scanning her face, trying to determine her source. “Your sister told me. Moira. Well, obviously. Alex doesn’t talk, does she?” Kate’s smile grew wider, more pointed. “Still managing to cause a lot of trouble up in Manchester though, I hear. Moira and I work the same cases occasionally—opposite sides, of course, but it’s always good to have a glass of wine and catch up. I’d heard rumours about you and James and she all but confirmed them, but he’s never been one for commitment, so.” The comment about her being a mistake more than stung, but she couldn’t let herself lose her cool just yet. She brushed the hair out of her eyes and looked at his steadfastly across the wide expanse of his desk. “You’ll understand if I don’t want my family being dragged into the centre of a political scandal just for the sake of some fling?”

She didn't react, which told him only so much. Either it could be that neither of his hits had landed or that some of them had - and he wasn’t going to be able to tell which ones until she’d started on the offensive again. He didn't like her, but he had to admit she had at least done her research. Plenty of it, it seemed, given the much more personal anecdote tacked on the end. “A good summary of my CV. I’d keep the assumptions to a minimum, if I were you, though. I have an entirely different constituency from him - no handover there. Speaks just a little bit to his position on merit, wouldn't you say?” It was a blow that set him off each time he heard it, but Sebastian wasn't going to reveal weakness. “It's hardly surprising that it'd be easy to find inspiration in his work.”

An eyebrow raised as he stared, wondering just who she might have had access to - ah. Moira. Of course. No family loyalty - he should have known. They'd have to talk about that next time he saw her. In all, the story wasn't too damning, as long as no one looked too closely at how old he'd been at the time. The fact that Moira somehow approved of Conway was both a red flag and a promise that this would be interesting, no matter the way it turned out. “Oh, no, Alex simply has better judgement of who she speaks to.” The jab at Alex was another blow that landed. Conway really had done her research. A smile. “You know, given how close she and Jim are?” Just how far he’d gone since leaving Kate. He wouldn’t give her information that she didn't deserve - that Jim had been committed for far longer than the press knew. “I think he can be, with the right person. Maybe you didn't have enough faith.” The personal angle seemed a far richer vein for now. “I understand perfectly, though really it's up to you - when have I ever been implicated in a scandal, after all? It’d be awful to lose the reputation you've made, wouldn’t it? And I'm sure the scrutiny on the rest of your family would be uncomfortable as well.” It wasn't an outright threat. “All the same, I do understand the value placed on family - did Moira neglect to tell you about the times I've looked after her children?”

“I have plenty of faith, thank you. Actually, I found it was his that was lacking.” Tucked beneath the sharp collar of the severe white shirt ( court clothes; really, she should be at the hotel, prepping her closing statement for tomorrow ) was the battered gold crucifix her parents had given her for her First Communion. Her fingers tighten around one another in her lap so they don’t fly up to fiddle with it. No clues. “And reminding me about his lifestyle choices—" As if that was necessary. “—Won’t help you make your case, Mr. Moran.” Once upon a time, it had been James’s lack of conventionality that she had loved, the fact that he wore leather and make up and made her mother spit with fury whenever she saw them together. When had that changed? When she’d found out she was pregnant and the father of her child had fucked off to England, leaving her unmarried and in trouble and—

Kate took a deep breath to calm herself, recentre her thoughts, and continued. “I’m sure you’re a fine babysitter,” she said stiffly. “But this is different. And the fact that you can sit there and threaten my family tells me everything I need to know. Unless you have anything else to add, this interview is over.” She pocketed his pen and bent down to retrieve her bag, getting back on her feet before she said, “You can give James my answer, and that is if he ever brings up introducing her to you—or attempts to do it behind my back—I shan’t let him anywhere near her again. We can take it to the courts if we have to; we all know who’s going to win.”

“A strong judgment, I'd say.” Perhaps not entirely unfair, depending on what sort of faith they were discussing, but still. “No, I suppose it wouldn’t. But one of my sisters is willing to avoid gossip about the family, and it’s not the one you’re friends with.” He’d really have to talk to Moira about tattling like that. It was annoying, more than anything, but all the same. She took a breath and - clearly, he’d set her off with one his remarks - this wasn't really how he'd wanted this to go. “I don't see how it's different. In fact, I'd say it's even more low risk than babysitting, given that all Jim has asked of you is an introduction.” He considered asking for his pen back. With her standing, ready to go, he’d have to take this seriously - more seriously than before. He might have told her not to be so sure about the outcome, but that would drive the wedge further between them. For Jim’s sake, he shouldn’t.

“I know the statistics of custody awards, Miss Conway. There is no need to threaten.” Really, there was no need to resort to outright threats. “You do realize a court case would bring exactly the sort of eyes you’d like to avoid?" He stood as well, finally. “I appreciate how much you're willing to do to protect your family and I won't tell you how to do so, but I do think it incredibly unfair of you to not tell him your decision yourself. Not because I don't want to be the bearer of bad news, but because he - maturely - asked you for permission to do the barest minimum of actions and you're making assumptions based on a five minute interview that you began with no pretensions of civility.” She’d come in on the offensive and he’d replied in kind. "You don't have to like me - I hardly expect you would, but that doesn't seem like just grounds to punish Jim. Or your daughter, really, who I believe is old enough to ask questions. If I find that you've ever actually prevented him from seeing her because of me, then I really will take issue." Maybe a bit of a threat.

“Mrs.” She paused with her bag over her arm, glowering down at him until her got his feet, and then, even in heels, she was forced to look up. “I don't know what kind of woman you think I am, sir, but I'm not a single one, that's for sure. I've been married eleven years next month.” For their anniversary the year before, she and Richard had hoped to go to Italy. Perhaps this year, if they could find someone to mind the children for a long weekend, they'd actually make it to the art galleries in Florence, the catacombs under Rome. Maybe if Jim could take them ... There was no one else she trusted, but could she even trust him anymore? “You said you were short on time and I believe in getting straight to the point, so please forgive me if I didn't pause to make small talk; we're busy people and there's not a whole lot to say. I don't like to be threatened and that’s twice in five minutes you've threatened me and my family. I don't like you, and your attitude certainly isn't helping. How long have you and James been together?”

“Mrs. Conway, then.” They were past pretending to polite, but he might as well be correct. "Yes, that is what the records say, isn't it." Seb hadn't looked into Jim, but he had done some digging. Just to see what he could find. He'd looked less at her, still trying to keep from directly disobeying Jim's wishes, but the brother had been an opportunity. “I did, didn't I. It's still true, but at the same time you did say it could take a while. You seemed less bothered by time limits at the beginning of this.” Which meant most likely that he'd offended her. Which he'd been trying to do, to be fair. “Neither of those were direct threats, Mrs. Conway, but neither of us have time to argue semantics. You rudely marched in here, implied that I was courting scandal and have since mentioned cutting Jim off from his daughter as well as the possibility to take all of this to court. You're hardly innocent.”

Here was the choice. They were at the rumor stage of the plan. Technically they'd been more or less together for a year by now, but no one else knew that. “You said you read the news - if they're to be believed, then I think you have your answer - that it all came together after his track.” A breadcrumb. “Moira would perhaps tell you that over a year ago, I was in charge of driving him to and from one of our family's gatherings.” And another breadcrumb dropped. If she wanted to pick them up, follow the trail, she could. Everything he'd said was true in its own way. The interpretation was up to her.

One of Kate's eyebrows went up. “If all I was interested in was second-hand gossip and the suppositions of the press,” she said coolly. “Do you think I'd be here? No. So, it doesn't take an Oxford-educated intellect to infer that what I would like to hear is the truth, straight from the horse's mouth, as it were. An alien concept to you maybe, but I’ll wait if I have to.” And so saying, she slipped out of her coat and sat back down, making a show of settling in for a long stalemate. “How did a politician and a musician who has publicly lambasted him on more than one occasion become a serious item?” Her tone was cold, but she was genuinely curious. Not so much in the how, though, more the, why this man, James? What the hell does someone like you see in him?

That had gotten her back, at least. Sebastian sat as well. “I haven’t lied to you, Mrs Conway,” he replied. He had perhaps misrepresented the truth, omitted, assumed, but he hadn't outright lied just yet. And sure, he'd threatened too, but only vaguely. “And did you ask Jim for the truth?” That was - though perhaps a bit of an attack - mostly just curiosity. “Or is he next? Making sure we can't coordinate our stories?” That was an unfair accusation, but he saw no reason to play fair with her. He shrugged, seemingly relaxed. “Maybe it's the public lambasting that makes it fun,” he replied, trying to think of just what he could or should tell her. She didn't deserve the details of their relationship - certainly no more than the general public did. “As much as it may shock you, we get along well. I think we represent a bit of a challenge to each other, and that's what keeps things interesting.”

TO BE CONTINUED ...

#epiitaphs #( i. drabble )#( i. save )#kate. | muse #the sun will come shining through. | happy verse ( musicians )#( iv. kate & sebastian )

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donotexterminateupgradepudding · 5 years ago

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Lucifer Morningstar is an introvert. A very awkward and unusual introvert.

In an attempt to not create a bunch of random side-blogs, I’m just going to drop this here. Sorry Doctor Who/Torchwood fans.

With the whole covid-19 thing, I’ve been trapped at home more than I had anticipated recently and I was looking for something a bit more fun and frivolous to watch so I finally gave Lucifer a go.

I honestly don’t know why it took me so long to get to this, my brother had watched it when it was on tv and had mentioned it in passing several times. Suffice to say, once I finally gave into Netflix, I found it to be quite an enjoyable watch.

What really struck me in the serious is how it becomes obvious that Lucifer is an introverted character who is hurt. Wait - what you are thinking? He’s an introvert? Oh man, he’s totally a huge introvert.

Let me walk you through why he’s clearly an introvert despite a quick glance at his outward actions.

1.) Hiding in plain sight.

An interesting aspect to his personality is how he hides in plain sight. When he moves to LA, he rents the building that houses Lux and his penthouse suite. Lux is a place where he is surrounded by people, if he wants to partake in revelry all he needs to do is go downstairs and party with people in the club. However, he can also retreat to his place easily which is surprisingly well stocked with books and another piano for him to play in private. I doubt all of his books are for show, he frequently denies thinking deeply about things, but he always seems to be one step ahead of others which has always implied to me he plays the “I’m smarter than I look/act” card. Early on in the show, he occasionally invited people up to his place to party but it wasn’t a common experience. Think of the pizza delivery guy being invited to stay and party.

Despite his love of drinking, drug use and sex, he makes it quite clear that drinking and drug use rarely have an effect on him for long. He is rarely hung over or wasted since his metabolism clears the alcohol too quickly for him to feel it and on multiple occasions he states he mainly drinks as he likes the taste. One of the few times he was high was after he smoked a massive amount of pot at the teenage delinquent recovery farm as indicated by him sitting at the detective’s desk eating potato chips and dipping them in nutella realizing it was an amazing flavor combination. For him, drugs seem to simply be something that is fun and a way to amuse himself and based on his drinking, it is mainly a way to meet and socialize with people.

As far as the sex, it is clear that he uses his casual hook-ups as a fun distraction. To avoid any possible intimacy with others, he hides behind the fact that sex is a pleasurable act and by keeping his sex life 100% casual, no person in his or her right mind would even consider dating him. He has made himself impossible to be seen as possible long term boyfriend in a steady relationship. He likely struggles with his own angelic power to pull out people’s desires and his ability to seduce them. Since his default is to have people literally throw themselves at him, he likely sees most of them acting in response to his powers and necessarily to him as a person. As he wants people to follow their desires and free-will (as he simply removed the inhibitions that were present and did not create them) he gladly indulges them as well as himself. If I were him, I’d be like “well why not?” an attractive person wants to sleep with me, sure do it, no harm, no foul.

I found it most telling based on how sensitive he is to his sexual reputation as well as his ability to meet his current sexual partner’s needs. First off, when a random kid pretended to be him, he was incredibly upset that his imposter lacked his skills. He’s Lucifer Morningstar, he has skills and a reputation associated with them. Secondly, when the detective decided to interview his previous partners for the past 8 weeks (all 92 of them) two things were very obvious i.) he went to great lengths to make sure no matter what he did, that person had the most amazing sex of his or her life ii.) not a single person he slept with saw it as anything more than an amazing night of no strings attracted sex. His actions did not inspire them to want more of a relationship from him. How his facial expression become quite sad as all 92 of them stated it was just empty sex showed how alone he is. Another unusual trait is that he has been the most sexually responsible angel ever. Granted, the vast majority of angels were never going to have sex in the first place, yet he has a much more responsible track record than Amenadiel. It is clear that he has had sex with thousands upon thousands of humans over the years and he never once resulted in a human-angel pregnancy. This may also be linked to the fact that Amenadiel by default, desires a ‘normal’ regular relationship while Lucifer has been avoiding having a “normal” relationship. It would imply that if he found someone to have a kid with, he would be in a “normal” long term relationship with that person.

Overall, his first career on earth was to make sure he had an establishment that represented what he felt others perceived as his core personality, that as the devil, he would have to surround himself by partying and temptations. Owning Lux is a way for him to keep up appearances and maintain his public persona as well as his persona that is seen by celestial beings. Lucifer is a classic example of a character who is totally alone in a crowd.

2.) Few close friends

Another true introvert trait is to have a small tight knit group of friends. Lucifer fits to this exactly. He has excellent social skills, and again due to his former job and his nature, yet does many actions by smooth, polite and calculated actions - from a distance. His job of granting favors is based on how he knows someone, who knows someone, forming a vast network he has to draw upon to make sure that the favors work out the way the person would like them to. He doesn’t do the favors though because he cares for the person, more than he seems to do it to pass the time until he finds a job with more meaning.

It is starting his second job as a civilian consultant for the LAPD that his preference and need for a small friend group becomes obvious. The most obvious one is his relationship with Chloe.

Chloe Decker: He is first intrigued at why his powers do not work on her, his immediate physical attraction to her as well as seeing her as a kindred spirit also drew him to her. She is the outcast of the department and he knows all too well what it feels like to be the literal outcast. As a result of their common situation and the fact he can’t sway her, the two of them can speak openly and honestly. Granted, the biggest issue with his relationship with Chloe is the fact that she denies the obvious truth that he tells her even though she has seen enough evidence that he likely is not some random British guy living in LA running a high end nightclub.

As their relationship deepens he begins to find comfort in the fact that despite his inability to influence her, she still appreciates his company and values him as a friend and a work partner. Even though he panics and holds her miracle status against her at first, he comes to realize she can’t be held responsible for something she has no control of and is unaware of. Linda time and time again tries to get him to realize that he keeps her away due to his absolute fear that she would reject him. Since she’s the only person who could accept him as is, it means her acceptance of him is the biggest risk to his own heart in regards to her.

In part, his complicated relationship is tied to his fear that she would reject him, so him loving and caring for a single person as he does for her is too risky. He’s a seriously hurt dude, he’s terrified of being hurt anymore by someone he cares for. Chloe really takes a long time to realize how deeply he is hurt. I get that she’s his opposite but I do felt out of all of the characters, she got short end of the stick in regards to character development. Everyone else has had major changes and realizations yet she only sort of struggled with Lucifer’s identity in the first half of season 4 and she was off her “mark” when she was a bit preachy with him. Thankfully, she stopped that bit and realized that he more needed her to listen to him and to support him. It really got that concept that sometimes you need to just be there for someone and not try to fix it - since Chloe is a fixer.

Mazikeen: She is his right-hand woman. The only demon to leave hell to follow him to earth, she first acted as his personal assistant, running the day to day operations of Lux and also working as a bartender. Despite all of their conflicts, they care deeply for each other and have each other’s back.

The hardest part of growth in their relationship is when it went from master-servant/boss-assistant to more that of peers. Even as he began to change in how he worked with humans, he keep their relationship as their default from hell. He really hurt her feelings since she developed feelings and both of them are terrible at expressing them to others. They have a relationship and work dynamic that they had for thousands and thousands of years - it is pretty impressive that they are learning and growing in a relatively short time period to respect each other and mature.

I found the most emotionally moving parts between them to be in season 3 when Chloe begins to get involved with Cain/Pierce and he expresses his worry that at least he has her and she’ll never leave him. Maze interprets this as him being selfish and treating her as his number 2. She lashes out at him and all he does is look back at her in return is hurt as he almost quivers. Since she was his right hand woman in hell, she is the person with whom he has had the longest and most trusting relationship with since being cast into hell. Did he phrase things in a way that helped in the situation - no. But was he telling her his honest feelings that he really does feel like she is someone who is always there for him and supports him - yes. When she goes behind his back to work with Cain/Pierce, he’s hurt and feels betrayed. Sure, some of it is karmic payback for the times he’s hurt her, but after his failed experiment with Abel, he has every right to not just pop willy-nilly between earth and hell.

I have the vibe that they will eventually settle into a sibling like relationship treating each other the same way he interacts with his angel siblings like Amenadiel and Azrael.

Ella Lopez: So far Ella has been the only human friend that he has worked with with whom he hasn’t used his angelic charms on. He was uncomfortable around her at first; she’s religious, she’s outwardly friendly and very much into giving hugs. Ella “wastes” her time on what he would see as pointless pleasantries in the office. Yes, Lucifer will lay on the pleasantries, but his always have a purpose - Ella’s are just her being nice. He did like her opinion that the devil got a bad rap, but then she kept thinking he was a method actor in addition to being a nightclub owner.

Despite their obvious differences the two of them are both very straightforward people who have a strong sense of personal justice and are dedicated to solving the crimes. He quickly begins to joke around with her and with her four older brothers, she finds no issue with dealing with his antics - it is more like par for the course.

The fact that Azrael also couldn’t help but become friends with her seems to indicate she has some sort of personality that celestial beings really like, especially those who have the shittier jobs e.g. Lucifer running hell and punishing and Azrael being the angel of death dealing with, well, death. The fact that she made sure Ella would become friends with Lucifer was really sweet and even though he was at first upset since he doesn’t like people trying to manipulate with him, he realized that Azrael’s action was in right place. She got her favorite brother and favorite human to become friends since she knew they would get along even if she couldn’t be with them - you know, having the whole angel of death as her day job.

His love of Ella as a friend though came out when her older brother Jay was in town and mixed up in the illegal diamond cleaning. Yes, he brought his own feelings with his older brother into the mix, but he was correct. Jay is not the absolutely perfect brother, he was involved in shady stuff. I think when he confronted Jay was one of the best scenes in regards to him standing up for and protecting his friends. He made it very clear that if Jay ever hurt Ella again he’d be in trouble as he knew how important it was to her to continue to see her brother in her own most positive light.

I really get the vibe that they feed off of each other being goofballs - Ella was a nerd and picked on as kid and had a lot of issues to deal with. He’s the cast out son, they are both outcasts on the rebound and they like to have fun with each other. This really comes to a head in season 4 when Lucifer, Chloe and Ella go to the nudist colony. Chloe is a complete stick in the mud and by the time she turns around the two of them are naked and ready to go. As adults on their own and away from their family and their former “teenage” issues they finally get to be who they want to be and I just think their dynamic duo antics are adorable. She is the friend that will do silly things with him while Chloe remains too, well stoic. When Ella has her crisis of faith, Lucifer doesn’t fan the flames instead, he’s confused how to react so he doesn’t tell her what to think.

Trixie: She immediately loved Lucifer from the moment she met him. He is incredibly awkward with her. He’s not sure to do with her little kid hugs, he tries to not hold her hand when they investigate the elite private school. Yet, no matter how frequently he calls her a little urchin and doesn’t understand why she likes him, she grows on him.

I personally loved her bedroom sign in the first season - “Trixie’s room - no boys allowed - except for Lucifer.”

Trixie is a classic example of kid radar seeing people for who they are; she accepts Lucifer and Maze with no judgement, she just sees them as these rad adults whom she can play with.

I really liked when he tried to buy her the new doll since she destroyed her old one - in a way he respected her kid logic - did it teach her a lesson - no. But it was a logical extension as a means to an end. He came from a background of illogical parenting so to speak. He dealt with rules that didn’t always make sense it is clear he spent too much time pondering them thus leading to his current situation.

Does he like other children still? Not really, he still didn’t know what to do when he touched a kid’s head with a little pat as his backyard picnic with Cain as he wiped his hand on his sweater. Yet, since he has gotten to know Trixie through his interactions with her it is clear that he likes her.

Dr. Linda Martin: Dr. Martin is my fav female character on the entire show as she is a compassionate, caring and intelligent individual and a secret badass. Her relationship with Lucifer started how all of his interactions with people who desire him do - with her wanting to sleep with him. Over time, she realizes that she can’t and shouldn’t be sleeping with him and he also begins to realize that he can work with her without having to pay her with his body and pay her the normal way - with money. He learns to treat himself with more respect and not just give away himself to her. Showing a bit of a shift in how he sees himself with those he actually knows.

I think she really was his first example of how to have a normal human transaction with well, a human. She is incredibly patient with him and even when he reveals his true self to her, she is able to accept him with a little nudge from Maze. Despite being overwhelmed due to his families odd demands on her and almost killed by his very upset and stressed out mother, she protects him as a client and as a friend.

Sure, he always interprets her advice in interesting ways and she knows him well enough to realize that he avoids things and is in denial but she always still cares for him. He also does frequently figure out what she wants him to realize - he just likes to make it more difficult for himself. I wonder if the more that they got to know each other, his ability to influence her waned as she saw him as more than a playboy and he saw her as a doctor who could help him and later as a good and trusted friend.

Most importantly, she never gives up on him and truly believes in him despite all of his detours and distractions. When he has his identity crisis in season 4, she is the first person he shows his devil wings to. This comes from a place of deep trust in her and even though she can’t help him, she is there for him as a friend.

I don’t think he’d ever admit it to her directly, but Lucifer likely understands that Linda’s friendship with Maze has helped Maze grow as a person - er demon - and her advice has helped him in how he interacts with her learning how to change his relationship with her from boss-assistant to more that of peers and friends.

Dan Espinoza: Oh yes, despite all of their stupid male ego headbutting, Lucifer is friends with Dan and he does care for the man. When they first met, Dan was definitely a being a bit of a dick to Chloe; mainly by keeping his own secrets to protect her even though it drove her nuts. If anything bothers Lucifer more it is people lying and hiding things from him. Lucifer is almost pathological with telling the truth and not lying; and well Dan was not the most honest at the beginning.

So of course, he received full on Lucifer hazing; once the police admin punished him by demoting him for messing with evidence he slowly became more sympathetic to Dan. He did use his skills to get Dan to admit that he wanted to correct his mistakes and when Dan started to lose it with Azrael’s blade, he saw that Dan was a stronger and more complicated man than he wanted him to be. If Dan were a simple man, driven by simple desires and actions, Lucifer could write him off. But Dan isn’t, his biggest change is when he realized he needed to stop calling him Detective Douche and actually call him Dan, in part due to Dan standing up to his teasing.

Was it right for Lucifer to keep up his petty antics for so long? Likely not, but Lucifer learned that some of Dan’s actions and personality traits are actually good things and his day shadowing Dan was annoying for poor Dan, but at least allowed him to realize that not everyone is the same.

Lucifer also has been more honest about his feelings in front of Dan than many others - when they went to get a favor from the Russian mob boss, he freely admitted his own hatred for himself and how he hurts everyone he cares about. If he said that in front of Chloe or Ella, both of them would rush to tell him it isn’t true and he’s being too hard on himself. Instead, Dan kept his distance and realized that both of them think the grass is greener on their side of the fence. Lucifer is secretly jealous of Dan’s more simple approach to things and Dan thinks Lucifer truly is careless and wishes he could be a flippant as he appears to be.

Dan really is a reminder how how Lucifer is unable to open up to others and make himself more vulnerable. Unfortunately, this results in Dan frequently getting hurt and he makes epic bad decisions in season 4 out of grief over Charlotte’s death, blaming Lucifer for all of his pain. But no matter what happens, it is clear that Lucifer would not wish for bad things to happen to Dan as he is a good guy and a capable detective.

Is their friendship a perfect one? Far from it, but both of them really do try to care and support the other guy as long as they aren’t pissed off at each other. It likely doesn’t help that Lucifer’s friendship with Dan is pretty much his only one with a normal human guy. He’s got plenty of angelic brothers and Cain really isn’t normal by a long shot so it makes Dan even more important to have him in his circle of close friends. As a 100% totally normal dude, Dan acts frequently as the ‘in’ to understanding (or really lack of understanding) what is happening.

Eve: I just finished re-watching season 4. I’m still not sure where I’d place Eve in all of this. She’s only in season 4 so far and based on her actions, I’m not sure I’d call her one of his close friends. If anything she was pretty much an impediment to all of his relationships - albeit maybe not quite on purpose . . . she’s a woman who still hasn’t figured out who she is despite realizing she needs to not define herself in the context of a relationship.

Sorry for not having more thoughts on this, I need to ponder it more.

What I will say is that their relationship issues stem from the fact that he is an introvert and she’s an extrovert. He realized that Eve was a “bad” influence on him and he struggled to express his feelings to her. The fact that it takes him shouting out at her that he “doesn’t like who he is when he’s with her” was painfully difficult for him to say. It is clear that he cares about her deeply and he wants her to be happy. Yet, he can’t and really doesn’t want to deliver on her actions or feelings. The worst part is that it tears him up inside since in a way he saw her as a possible long term partner which was a big deal for him.

3.) Works either alone or in small groups.

When it comes to his role with the LAPD, Lucifer’s modes of action are not that of a typical extrovert. He is either working closely with his partner Chloe, or occasionally with Ella or Dan. He is never part of a large group nor is he taking a typical leadership role. Due to his need to protect others and his need to get answers as quickly and directly as possible, he frequently goes off on his own. In part, this is so that he can take full advantage of his angelic powers and immortality, but also to protect those he cares about. Sure, he walks into a Korean gang headquarters and tells them to come out, but he doesn’t try to chit chat or smooth things over with them. He goes in, finds the head boss and pretty much strikes a deal with him that he can’t refuse. When he wants an answer his methods are far too direct. Find suspect/target/person and just question them or threaten them and then question them. There is no charming and social games. He can’t be bothered with banal pleasantries when he wants to know something. If Lucifer were a true extrovert he would want to talk to others and feed off of the energy he gets from being with them - yet - he never has shown this. He sees getting information as a task he needs to complete as quickly and efficiently as possible.

Even though he is hurt when Chloe and Cain become closer and begin to hang out or work cases without him, he still shows up and does work to help out with cases. He also is good at working by himself and is able to work things out when he applies himself.

He also has an excellent sense of intuition when reading people. Of course, one of the major aspects of the show is that he projects his own issues onto others. This leads him off of what they are doing sometimes, so his read isn’t quite right. But he is perceptive when he sees odd behaviors and is able to connect things without full information. This is both what he did with Ella’s brother Jay and more importantly with Pierce/Cain. He invites him for a drink and then stabs him with the knife. He looks incredibly nervous after he kills him as he can’t kill a human as an angel - he keeps switching between trying to be calm and have a drink while he waits for him to wake up with a nervous sweat. Did he know for sure Pierce was Cain? No, hence the nervousness until his intuition was proven correct was his true feelings on his gamble.

Furthermore, when he does work with Chloe or others, he always has their back and will go to any length to work with them. This to me indicates that he finds working with a select few people with whom he can trust is how he is most comfortable and he doesn’t need to be the center of attention and the one in charge like how he was in charge of hell. It is clear that by the end of season 4 even though he returned to hell it wasn’t because he enjoyed to or wanted to - it was because he had to protect everyone he cared about. He also has a natural chemistry and ease working with Chloe where even in tough situations they instinctively know what to do and how to act.

4.) He expresses himself through actions.

Lucifer is an incredibly hurt individual. He was punished by having to take a job that he didn’t even want or even desire and most of his family abandoned him. He’s terrified to open up and show his true feelings and pain to others as they would take advantage of it as a weakness to hurt him further. Honestly, I think he still doesn’t quite understand how his actions landed him in hell. He was questioning the establishment and it is clear he thinks deeply about rules and how they influence others. Anything he thinks is illogical he ignores as he can’t be bothered to care to follow those rules and conventions. I think about how he made Chloe rethink the “swear jar” for Trixie - he pointed out rules without a clear basis don’t make sense.

Since he struggles to express his feelings in a way to help others. e.g. mainly in his denial/fear to tell Chloe he truth does two things; i.) he makes it about him or ii.) he tries to demonstrate through his actions.

The making it about him method, is a subtle way where he wants to know how to solve his own problem to help him understand or interact with others. But since he doesn’t want to say for example “I need to figure out how Cain can die since I promised him and I am true to my word.” he instead hides behind the idea of “I need to find the author’s killer so I can read how she got over her writers block.” By extension, since the manuscript is an instruction guide, he thinks he’ll learn something so that he can follow through on his promise. It is a very obtuse way to act, but since he hides behind his narcissistic facade no one will understand he’s not doing it for himself.

As far as his actions, he really shows it when he reorganizes Chloe’s desk; he realizes that she deals with all the paperwork and since she is capable she gets even more paperwork piled on to her workload. He cleans up her mess and anal retentively arranges her pencils and makes sure the right angles on the files are all lined up. He also found a method of filing that makes more sense to him and it inadvertently helps her find the missing piece of evidence for their most recent case. I liked how he color coded everything. Did he need to add the picture of him in his underwear as her backdrop? Hell no, but he figures out that since she likes him, what’s wrong with her seeing a part of him that she likely will never see.

This also gets him into trouble; again, buying the doll for Trixie, trying to out perform Cain in gifts for Chloe and always seeing things as a competition. He wants to give people physical proof of his care for people without actually saying it. Specifically he wants to express his care through a tangible amount of some sort of physical object.

5.) He hides behind his narcissistic behaviors.

As Lucifer struggles to come to terms with himself and expressing his feelings he has hid behind his narcissism. What is a great way to keep people away from you and keeping your distance from them? Being completely self-absorbed with yourself that no one would ever want to be friends with you. His narcissism is a HUGE turnoff for the vast majority of the population.

It is so clear that he wants to develop close relationships but he’s so afraid of hurting others and even more so hurting himself. He’s hid behind his hedonistic behaviors and his self-absorbed actions for thousands of years. He really is a very particular person; he is constantly adjusting his sleeves under his suit coat, his shoes are always perfect, he moisturizes and his hair is styled elegantly. He likes things arranged elegantly and it shows how important control is to him. If he is 100% in control of everything, again he’s protected from being hurt.

As he works at the LAPD and forms his important friendships, his appearance changes. In the first season, he wears black or dark grey suits, his shirts are white, black, dark purple, dark blue and grey, if I recall correctly. He keeps his look simple and professional, almost cold. His matching pocket squares are also basic and mainly a single solid color with few patterns.

Yet overtime, he becomes more adventurous in his appearance, he starts wearing more light blue shirts, he begins to add in more color with burgundy, forest green, and even a caramel colored suit. His pocket squares become more interesting with patterns and more color combinations. With the increase in color and variety he appears much more approachable and has more of an air of friendliness even though he still only cares for his small group of friends.

A case that was a real struggle for him was with the online dating app for “fabulous” people - Top Meet. He wanted to continue to judge people based on superficial appearances, as it has been his own wall and it has served him well. When they ultimately confront the killer, his own knowledge of nature and narcissists allows him to save the day by tossing the head sculpture at him and the detective can apprehend him.

His car serves as both another front and also shows how he longs for few intimate friendships or relationships. He’s got that lovely little Corvette and it is a two-seater. He doesn’t drive a giant, flashy car that can fit lots of people. Instead, he has a small almost cute (I personally think it is cute) car that only another person can sit in. He only wants to ride with one person at a time as he values his close relationships. Yet, having a car that only can fit one other passenger shows a part of his narcissistic front - that only a person who he’d see as worthy would be able to ride with him.

Overall, by looking at how Lucifer chose to have a job on earth in a nightclub where he could simply hide was the first indication he’s an introverted character. The longer he has been in LA, the more close friendships he has formed and they are very important to him as well as his oldest friendship with Maze. When he realized that Maze was attracted to Eve, he noticed it, but hasn’t made mention of it yet (likely that will happen in season 5). The fact that he noticed it meant he really has stopped seeing her as his right hand woman and more just as an individual with feelings. His close friendships really show that he’s an introvert not an extrovert. It is obvious that he gains meaning and connection from these close relationships in a way he never experienced before. His preference for working either alone or in a small team also shows that he is much more comfortable as well as his preference to express himself through actions as opposed to using words since that is much harder and more uncomfortable. Lastly, by hiding himself from all others behind a self-absorbed image he has been able to keep others away from him for thousands of years.

The major point about his character growth is learning that having a small support group of real friends and family he can find what he’s been looking for. A place to belong and be accepted.

#lucifer tv #lucifer #lucifer morningstar #chloe decker #mazikeen #maze #linda martin #dr. linda martin #dan espinoza #ella lopez #trixie decker

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